The Lustrous Trade: Material Culture and the History of Sculpture in England and Italy, c.1700-c.1860Cinzia Sicca, Alison Yarrington A&C Black, 2001 M01 1 - 290 páginas In recent years, the Anglo-Italian sphere of artistic exchange in relation to painting has been an increasingly productive area of research. Here, contributors shift the focus onto the two countries' equally significant sculpture trade. This volume of selected essays by economic and social historians and historians of material culture and art investigates the varied roles and functions of sculpture and the ways in which this particular cultural exchange was manifested. Issues of business and the markets for sculpture are highlighted, both in the context of producers of "high"art and in the wider market of religious, garden and decorative sculpture. |
Dentro del libro
Resultados 1-5 de 31
Página 2
... political and economic alliances . Tus- cany was thus , for a variety of reasons , a very special British partner in the eighteenth century and this continued to be the case in the nineteenth century . Since the 1980s studies on the ...
... political and economic alliances . Tus- cany was thus , for a variety of reasons , a very special British partner in the eighteenth century and this continued to be the case in the nineteenth century . Since the 1980s studies on the ...
Página 4
... political meaning that sculpture fulfilled in those times . 19 It is interesting here to point out the similarity of this eighteenth- century English view with that held by the Florentines in the fifteenth century , and how this civic ...
... political meaning that sculpture fulfilled in those times . 19 It is interesting here to point out the similarity of this eighteenth- century English view with that held by the Florentines in the fifteenth century , and how this civic ...
Página 6
... political connections to ensure the safe passage of the works out of Rome , into the territory of the Grand Duchy of Tuscany . Classical statuary frequently required to be restored prior to shipment to England , and it must have been ...
... political connections to ensure the safe passage of the works out of Rome , into the territory of the Grand Duchy of Tuscany . Classical statuary frequently required to be restored prior to shipment to England , and it must have been ...
Página 8
... political elite that it became impossible for Guelfi to find a niche outside this group . This seems also to have combined with a certain unwillingness on his part to experiment with a wider range of sculptural types , thus restricting ...
... political elite that it became impossible for Guelfi to find a niche outside this group . This seems also to have combined with a certain unwillingness on his part to experiment with a wider range of sculptural types , thus restricting ...
Página 10
... political upheavals of Italy , establishing a successful studio there.55 Giovanni Fontana who worked from Rome similarly moved to London in 1850 for political reasons.56 Rinaldi , Tadolini , Tenerani and Finelli also found favour with a ...
... political upheavals of Italy , establishing a successful studio there.55 Giovanni Fontana who worked from Rome similarly moved to London in 1850 for political reasons.56 Rinaldi , Tadolini , Tenerani and Finelli also found favour with a ...
Contenido
1 | |
Sculpture the Royal Image and the Market | 27 |
2 Camillo Rusconi in English Collections | 49 |
3 The Trade of Luxury Goods in Livorno and Florence in the Eighteenth Century | 67 |
Morality and Representation in English Eighteenthcentury Tomb Sculpture | 77 |
Sir Henry Cheere and the Formation of a New Commercial World of Sculpture in MidEighteenthCentury London | 94 |
Production and Consumption of Garden Sculpture in Genoa at the End of the Seventeenth and during the Eighteenth Century | 114 |
Chantrey and Canova | 132 |
The Lazzerini Workshop and the Arts Crafts and Entrepreneurs of Carrara in the Early Nineteenth Century | 156 |
Maintaining Distinction in an International Sculpture Market | 174 |
10 Belzonis Collecting and the Egyptian Taste | 191 |
The Beginnings of Italian Medieval and Renaissance Sculpture at the South Kensington Museum | 211 |
Sculpture as Fine and Ornamental Art at South Kensington 185262 | 222 |
BIBLIOGRAPHY | 240 |
INDEX | 267 |
Otras ediciones - Ver todas
The Lustrous Trade: Material Culture and the History of Sculpture in England ... Cinzia Sicca,Alison Yarrington Vista previa limitada - 2001 |
The Lustrous Trade: Material Culture and the History of Sculpture in England ... Cinzia Sicca,Alison Yarrington Vista previa limitada - 2001 |
Términos y frases comunes
6th Duke Accademia Albert Museum antique architecture Archivio artists Bartolini Belzoni British bronze Burlington busts Camillo Rusconi Campana Canova Carlo Marochetti Carrara carved casts catalogue Chantrey Chantrey's Chatsworth Cheere's City classical collection commissions contemporary context copies court cultural decoration Devonshire MSS display documents Domenico Parodi drawing Earl eighteenth century England English exhibition Farnese Hercules figures Filippo Parodi filza Florence Florentine Francesco garden Genoa George Giovanni Grand Guelfi Hanover Hanoverian Henry Cheere Holkham Hall Houghton Hall House Ibid important Italian Italy John Lazzarini Legé Leghorn letter Livorno London marble monument mummy National Gallery noted November objects ornaments paintings Palace Palazzo Palladian patrons Pisa plaster Plate political portrait production Robinson Roman Rome Royal Academy Rysbrack sculpture Shaftesbury Sicca Soldani South Kensington Museum statuary statue taste Thomas tomb trade tradition University of Pisa Venetian Venice Victoria and Albert Villa Westminster William Kent workshop Yarrington