By Sébastien Clerbois
Fabrics could seem to be sculpture’s most blatant element. regularly visible as a way to an finish, and regularly studied when it comes to technical techniques, their intrinsic which means usually is still unquestioned. but fabrics include a box wealthy in which means, bringing into play quite a lot of matters the most important to our knowing of sculpture. This e-book areas fabrics on the centre of our method of sculpture, interpreting their symbolic and aesthetic language, their summary and philosophical institutions, and the ways that they display the political, financial and social contexts of sculptural perform. Spanning a chronology from antiquity via to the top of the 19th century, the essays amassed during this e-book discover fabric houses as basic to inventive intentionality
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Additional resources for Revival and invention : sculpture through its material histories
128–53; David Summers, ‘Pandora’s Crown: On Wonder, Imitation and Mechanism in Western Art’, in Peter G. 45–75; Francesca G. 159–93; Francesca G. 125–27, 187–89, 201–3, 206–9; Frits Scholten, ‘Bronze: The Mythology of a Metal’, in Martina Droth and Penelope Curtis, eds, Bronze: The Power of Life and Death, exh. 205–15; and Norberto Gramaccini, ‘Die Aura der Reproduzierbarkeit: zum Aufkommen der Bronzestatuetten und des Kupferstichs im 15. Jahrhundert’, in Peter C. 147–70. 437–63; the two CASVA volumes, Small Bronzes of the Renaissance and Large Bronzes of the Renaissance (as cited above), as well as Peta Motture, Bells and Mortars and Related Utensils: Catalogue of Italian Bronzes in the Victoria and Albert Museum, London: V&A Publications, 2000, and Jennifer Montagu, Gold, Silver, and Bronze: Metal Sculpture of the Roman Baroque, New Haven CT and London: Yale University Press, 1996.
Johann Joachim Winckelmann made five trips from Rome to Naples during this period, and it was against the background of these exciting archaeological discoveries and his own direct experience of the new finds that he wrote his History of Ancient Art, first published in 1764. 9 His enthusiasm was fuelled by the fabulous ancient bronzes being unearthed at Herculaneum, by the excitement that these new discoveries caused in Naples, and surely also by the dif ficulty of access to the finds in the King’s Museum − about which Winckelmann complained loudly and in print.
Archaeologists and art historians paid attention to Kluge, however, being themselves in many cases unfamiliar with bronze technology, modern or ancient. 16 Ancient bronze statues are normally found one at a time, almost never in matching pairs, so we tend to greet each new find as a unique work, which was most often probably not the case in antiquity. 4). Why not imagine that, like Rodin’s bronze Balzac, there were examples of the Diskobolos to be seen in dif ferent places? Many marble versions of the Diskobolos have survived, of course, but so far no large bronze ones, which does not necessarily mean that there was only one, but rather that this is an index of the material, which is meltable and reusable.
Revival and invention : sculpture through its material histories by Sébastien Clerbois