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Playing with Fire
European sculptors of the Neoclassical period often modelled their works in clay before producing finished pieces in marble. This book offers a comprehensive overview of Neoclassical terracotta models by European artists, featuring the works of0. Pajou, Houdon, and Canova, among many others.
The Learned Draftsman
The celebrated French artist Edme Bouchardon (1698–1762) is primarily known as a sculptor today, but his contemporaries widely lauded him as a draftsman as well. Talented, highly innovative, and deeply invested in the medium, Bouchardon made an important contribution to the European art and culture of his time, and in particular to the history of drawing. Around two thousand of his drawings survive—most of which bear no relation, conceptual or practical, to his sculpture—yet, remarkably, little scholarly attention has been paid to this aspect of his oeuvre. This is the first book-length work devoted to the artist’s draftsmanship since 1910. Ambitious in scope, this volume offers a co...
Sculpture and Enlightenment
This volume explores the ways in which the aesthetics of public art were affected by the social, political, and cultural changes of the Enlightenment.
The Forbidden City
An enigmatic locale that has long fascinated the West, the Forbidden City of Peking is explored in this chronicle. It reveals how the city has always been reserved for imperial families and their circles of acquaintances only, remaining taboo to the Chinese people, who were not allowed to approach it nor even look at it. It explains what it took to realize what is regarded as the most important architectural project in China, and documents how its construction spanned 14 years and required over a million workers. More than five centuries of the city’s history is revisited, detailing an array of magnificent treasures secretly passed down through its generations. Focusing on several exceptional pieces, the examination places them beside recognizably Western works, and reflects on the Far East’s remarkable influence on the other side of the world.
Trauma and Visuality in Modernity
Essays exploring the role of trauma in modern art.
The Revolution Takes Form
During the French Revolution of 1830, insurgents raised some four thousand barricades. Afterward, lithographs of the street fighting flowed from the presses, creating the barricade’s first imagery. This book documents the changing political valence of the revolutionary ideals associated with the barricade in France from 1830 to 1852. The Revolution Takes Form coordinates the political reality of the barricade with the divergent ways in which its image gave shape to the period’s conceptions of class, revolution, and urban space. Engaging the instability of the barricade, art historian Jordan Marc Rose focuses on five politically charged works of art: Eugène Delacroix’s La Liberté guid...
Art’s Properties
"From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity to give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a g...
Symbolism, Its Origins and Its Consequences
The notion of the symbol is at the root of the Symbolist movement, but this symbol is different from the way it was used and understood in the Middle Ages and Renaissance. In the Symbolist movement, a symbol is not an allegory. The Belgian writer Maurice Maeterlinck defined its essence in an article that appeared on April 24, 1887, in L’Art moderne. He wrote that the notion of a symbol in the Symbolist movement is the opposite of the notion of the symbol in classical usage: instead of going from the abstract to the concrete (Venus, incarnated in the statue, represents love), it goes from the concrete to the abstract, from “what is seen, heard, felt, tasted, and sensed to the evocation of...
Funerary Arts and Tomb Cult
This book sheds new light on the interplay of the funerary arts, tomb cult and the mentalities that shaped them in France, over a period famous for profound and often violent change. Using previously untouched archival sources and period published material, this study proposes new and vital contexts for nineteenth-century France's celebrated funerary projects, often profoundly reinterpreting them, and brings to light significant enterprises that are little known today.
