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The world that shaped Europe's first national sculptor-celebrities,
from Schadow to David d'Angers, from Flaxman to Gibson, from Canova
to Thorvaldsen, was the city of Rome. Until around 1800, the Holy
See effectively served as Europe's cultural capital, and Roman
sculptors found themselves at the intersection of the Italian
marble trade, Grand Tour expenditure, the cult of the classical
male nude, and the Enlightenment republic of letters. Two sets of
visitors to Rome, the David circle and the British traveler, have
tended to dominate Rome's image as an open artistic hub, while the
lively community of sculptors of mixed origins has not been awarded
similar attention. Rome, Travel and the Sculpture Capital,
c.1770-1825 is the first study to piece together the labyrinthine
sculptors' world of Rome between 1770 and 1825. The volume sheds
new light on the links connecting Neo-classicism, sculpture
collecting, Enlightenment aesthetics, studio culture, and queer
studies. The collection offers ideal introductory reading on
sculpture and Rome around 1800, but its combination of provocative
perspectives is sure to appeal to a readership interested in
understanding a modernized Europe's overwhelmingly transnational
desire for Neo-classical, Roman sculpture.
The world that shaped Europe's first national sculptor-celebrities,
from Schadow to David d'Angers, from Flaxman to Gibson, from Canova
to Thorvaldsen, was the city of Rome. Until around 1800, the Holy
See effectively served as Europe's cultural capital, and Roman
sculptors found themselves at the intersection of the Italian
marble trade, Grand Tour expenditure, the cult of the classical
male nude, and the Enlightenment republic of letters. Two sets of
visitors to Rome, the David circle and the British traveler, have
tended to dominate Rome's image as an open artistic hub, while the
lively community of sculptors of mixed origins has not been awarded
similar attention. Rome, Travel and the Sculpture Capital,
c.1770-1825 is the first study to piece together the labyrinthine
sculptors' world of Rome between 1770 and 1825. The volume sheds
new light on the links connecting Neo-classicism, sculpture
collecting, Enlightenment aesthetics, studio culture, and queer
studies. The collection offers ideal introductory reading on
sculpture and Rome around 1800, but its combination of provocative
perspectives is sure to appeal to a readership interested in
understanding a modernized Europe's overwhelmingly transnational
desire for Neo-classical, Roman sculpture.
This book offers a cross-disciplinary approach to pain and
suffering in the early modern period, based on research in the
fields of literary studies, art history, theatre studies, cultural
history and the study of emotions. The volume's two-fold approach
to the hurt body, defining 'hurt' from the perspectives of both
victim and beholder - as well as their combined creation of a gaze
- is unique. It establishes a double perspective about the riddle
of 'cruel' viewing by tracking the shifting cultural meanings of
victims' bodies and confronting them with the values of audiences,
religious and popular institutional settings and practices of
punishment. It encompasses both the victim's presence as an image
or performed event of pain and the conundrum of the look - the
transmitted 'pain' experienced by the watching audience. -- .
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