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Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book...
This is a study of the hidden medieval sculptures of the Romanesque and Gothic periods in France. By analyzing the imagery displayed on carvings, such as those high on the corbels or under the eaves of medieval churches and civic buildings, the author penetrates the alternative cultural world of the artist-craftsman and traces developments and themes.
Excerpt from opening chapter:"More than that of any other modern people French art is a national expression. It epitomizes very definitely the national æsthetic judgment and feeling, and if its manifestations are even more varied than are elsewhere to be met with, they share a certain character that is very salient. Of almost any French picture or statue of any modern epoch one's first thought is that it is French. The national quite overshadows the personal quality. In the field of the fine arts, as in nearly every other in which the French genius shows itself, the results are evident of an intellectual co-operation which insures the development of a common standard and tends to subordinate idiosyncrasy. The fine arts, as well as every other department of mental activity, reveal the effect of that social instinct which is so much more powerful in France than it is anywhere else, or has ever been elsewhere, except possibly in the case of the Athenian republic."
Discusses the major painters and sculptors of the period during the last years of France's ancien regime - a period that started with Watteau and the fete galante and closed with the revolutionary history paintings of David.
This Is A New Release Of The Original 1894 Edition.
Excerpt from French Art: Classic and Contemporary Painting and Sculpture Advantage has been taken of the present illustrated edition of this book to add a chapter on "Rodin and the Institute," in which the progress of what ten years ago was altogether a "new movement in sculpture," is further considered. Except in sculpture, and in the sculpture of Rodin and that more or less directly influenced by him, there has been no new phase of French art developed within the decade - at least none important enough to impose other additions to the text of a work so general in character. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgo...