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 25
Página viii
... Studio of Carlo Marochetti at Vaux in 1843 31 Watercolour illustrations prepared by Belzoni for display of material relating to the tomb of Seti I in the Egyptian Hall 129 139 140 144 158-9 175 176 181 198 32 Giovanni Belzoni , pencil ...
... Studio of Carlo Marochetti at Vaux in 1843 31 Watercolour illustrations prepared by Belzoni for display of material relating to the tomb of Seti I in the Egyptian Hall 129 139 140 144 158-9 175 176 181 198 32 Giovanni Belzoni , pencil ...
Página 7
... studio till 1721 when they were bought by James Brydges , 1st Duke of Chandos . These episodes suggest that commissions from British patrons were undertaken by Italian sculptors without the protection of a formal contract , and only ...
... studio till 1721 when they were bought by James Brydges , 1st Duke of Chandos . These episodes suggest that commissions from British patrons were undertaken by Italian sculptors without the protection of a formal contract , and only ...
Página 9
... studio and his time as well as the example of his sculptural technique and studio organization . In many ways professional acquaintance with Canova was a sign of ambition within an internationally oriented sculpture market ( as indeed ...
... studio and his time as well as the example of his sculptural technique and studio organization . In many ways professional acquaintance with Canova was a sign of ambition within an internationally oriented sculpture market ( as indeed ...
Página 10
... studio in 1826 reflected upon his treatment of marble , ' No one appears to have got more completely rid of its weight or its hardness . Under his hand it has all the pliability of a yielding material ' 53 Even among English patrons ...
... studio in 1826 reflected upon his treatment of marble , ' No one appears to have got more completely rid of its weight or its hardness . Under his hand it has all the pliability of a yielding material ' 53 Even among English patrons ...
Página 11
... studio , peopled with artists in various costumes , who affect mostly the shaggy aspect of the German Burschen , with a wild growth of hair , whiskers , moustachios , and beard , and every variety of head covering.'62 Visiting one of ...
... studio , peopled with artists in various costumes , who affect mostly the shaggy aspect of the German Burschen , with a wild growth of hair , whiskers , moustachios , and beard , and every variety of head covering.'62 Visiting one of ...
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