In Pygmalion in Bavaria, Christiane Hertel introduces the
sculptor Ignaz Gunther, placing him in the historical context of
Bavarian Rococo art and Counter-Reformation religious visual
culture. She also considers the remarkable aesthetic appeal of
Gunther's oeuvre--and connects it to the eighteenth-century art
theory that focused on sculpture and the creative paradigm of
Pygmalion. Through this interweaving of contexts and discourses,
Hertel offers insights into how Rococo art's own critical dimension
positions it against the Enlightenment and introduces a particular
notion of subjectivity.
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