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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">History of Sculpture</h1><div class="u-tcGrayDark">13,399 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>History of Sculpture</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/History_of_Sculpture">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/History_of_Sculpture/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/History_of_Sculpture/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/History_of_Sculpture/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/History_of_Sculpture">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3535756" data-work_id="3535756" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3535756/Il_restauro_del_ciborio_di_Arnolfo_di_Cambio_Basilica_di_san_Paolo_fuori_le_Mura_Roma_The_restoration_of_the_ciborium_by_Arnolfo_di_Cambio_Basilica_of_St_Paul_Outside_the_Walls_Rome_2009_">Il restauro del ciborio di Arnolfo di Cambio - Basilica di san Paolo fuori le Mura - Roma (The restoration of the ciborium by Arnolfo di Cambio - Basilica of St. Paul Outside-the-Walls - Rome). 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Ausstell.Kat. McClelland Gallery & Sculpture Park, Victoria, Australia 2017, S. 8-19.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">23 July-21.November 2017 "Foreword by Lesly Alway, Director Asialink Arts, an essay by Dr Martina Dlugaiczyk on Tina Wentcher's years in Berlin, and an essay by Ken Scarlett OAM on the Wentscher's period in South East Asia through to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24742730" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">23 July-21.November 2017 <br /> <br />"Foreword by Lesly Alway, Director Asialink Arts, an essay by Dr Martina Dlugaiczyk on Tina Wentcher's years in Berlin, and an essay by Ken Scarlett OAM on the Wentscher's period in South East Asia through to the work produced by Tina Wentcher in Australia" <br /> <br />This exhibition is generously supported by the Gordon Darling Foundation <br /> <br />Catalogue & Supplement <br />ISBN978-0-9946191-2-9</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24742730" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8175c434a5b3d680864463113a6ec0b" rel="nofollow" data-download="{"attachment_id":54584610,"asset_id":24742730,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54584610/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="14005486" href="https://independent.academia.edu/MartinaDlugaiczyk">Dr.Martina Dlugaiczyk</a><script data-card-contents-for-user="14005486" type="text/json">{"id":14005486,"first_name":"Dr.Martina","last_name":"Dlugaiczyk","domain_name":"independent","page_name":"MartinaDlugaiczyk","display_name":"Dr.Martina Dlugaiczyk","profile_url":"https://independent.academia.edu/MartinaDlugaiczyk?f_ri=8865","photo":"https://0.academia-photos.com/14005486/3867258/159695736/s65_dr.martina.dlugaiczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_24742730 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24742730"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24742730, container: ".js-paper-rank-work_24742730", }); });</script></li><li class="js-percentile-work_24742730 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 24742730; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_24742730"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_24742730 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="24742730"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 24742730; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=24742730]").text(description); $(".js-view-count-work_24742730").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24742730").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24742730"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="983" href="https://www.academia.edu/Documents/in/Jewish_Studies">Jewish Studies</a><script data-card-contents-for-ri="983" type="text/json">{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24742730]'), work: {"id":24742730,"title":"Martina Dlugaiczyk: Tina Haim in Berlin: A Re/Discovery (1904-1931), in: Simon Lawrie (Ed.): Tina Haim - Tina Haim-Wentscher - Tina Wentcher: Sculptor 1887-1974, Ausstell.Kat. McClelland Gallery \u0026 Sculpture Park, Victoria, Australia 2017, S. 8-19.","created_at":"2016-04-25T08:06:17.158-07:00","url":"https://www.academia.edu/24742730/Martina_Dlugaiczyk_Tina_Haim_in_Berlin_A_Re_Discovery_1904_1931_in_Simon_Lawrie_Ed_Tina_Haim_Tina_Haim_Wentscher_Tina_Wentcher_Sculptor_1887_1974_Ausstell_Kat_McClelland_Gallery_and_Sculpture_Park_Victoria_Australia_2017_S_8_19?f_ri=8865","dom_id":"work_24742730","summary":"23 July-21.November 2017\r\n\r\n\"Foreword by Lesly Alway, Director Asialink Arts, an essay by Dr Martina Dlugaiczyk on Tina Wentcher's years in Berlin, and an essay by Ken Scarlett OAM on the Wentscher's period in South East Asia through to the work produced by Tina Wentcher in Australia\"\r\n\r\nThis exhibition is generously supported by the Gordon Darling Foundation\r\n\r\nCatalogue \u0026 Supplement\r\nISBN978-0-9946191-2-9","downloadable_attachments":[{"id":54584610,"asset_id":24742730,"asset_type":"Work","always_allow_download":false},{"id":54584611,"asset_id":24742730,"asset_type":"Work","always_allow_download":false},{"id":54584609,"asset_id":24742730,"asset_type":"Work","always_allow_download":false},{"id":87256417,"asset_id":24742730,"asset_type":"Work","always_allow_download":false},{"id":45104818,"asset_id":24742730,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14005486,"first_name":"Dr.Martina","last_name":"Dlugaiczyk","domain_name":"independent","page_name":"MartinaDlugaiczyk","display_name":"Dr.Martina Dlugaiczyk","profile_url":"https://independent.academia.edu/MartinaDlugaiczyk?f_ri=8865","photo":"https://0.academia-photos.com/14005486/3867258/159695736/s65_dr.martina.dlugaiczyk.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=8865","nofollow":false},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=8865","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8865"},{"id":19332,"name":"19th Century (History)","url":"https://www.academia.edu/Documents/in/19th_Century_History_?f_ri=8865"},{"id":31293,"name":"Jewish Cultural Studies","url":"https://www.academia.edu/Documents/in/Jewish_Cultural_Studies?f_ri=8865"},{"id":44070,"name":"Berlin","url":"https://www.academia.edu/Documents/in/Berlin?f_ri=8865"},{"id":100266,"name":"Kunstgeschichte","url":"https://www.academia.edu/Documents/in/Kunstgeschichte?f_ri=8865"},{"id":182516,"name":"Kunstgeschiedenis","url":"https://www.academia.edu/Documents/in/Kunstgeschiedenis?f_ri=8865"},{"id":622114,"name":"Berlin history in 19th and 20th century","url":"https://www.academia.edu/Documents/in/Berlin_history_in_19th_and_20th_century?f_ri=8865"},{"id":733443,"name":"Klassische Moderne","url":"https://www.academia.edu/Documents/in/Klassische_Moderne?f_ri=8865"},{"id":746530,"name":"Plaster Casts 19thc","url":"https://www.academia.edu/Documents/in/Plaster_Casts_19thc?f_ri=8865"},{"id":1009927,"name":"Plaster Casts","url":"https://www.academia.edu/Documents/in/Plaster_Casts?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13947229" data-work_id="13947229" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13947229/The_Marginalisation_and_Misunderstandings_of_Late_medieval_English_Transi_Memorials">The Marginalisation and Misunderstandings of Late-medieval English Transi Memorials</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This paper explores the marginalisation and misunderstandings of the 38 English late-medieval carved cadaver memorials, generally known as transi tombs, and suggests a reason for why this might be the case in modern society.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13947229" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d383feaf8b3324a5ec2aa62a71403f3b" rel="nofollow" data-download="{"attachment_id":38165061,"asset_id":13947229,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38165061/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26046" href="https://winchester.academia.edu/ChristinaWelch">Christina Welch</a><script data-card-contents-for-user="26046" type="text/json">{"id":26046,"first_name":"Christina","last_name":"Welch","domain_name":"winchester","page_name":"ChristinaWelch","display_name":"Christina Welch","profile_url":"https://winchester.academia.edu/ChristinaWelch?f_ri=8865","photo":"https://0.academia-photos.com/26046/17300486/17409852/s65_christina.welch.jpg"}</script></span></span></li><li class="js-paper-rank-work_13947229 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13947229"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13947229, container: ".js-paper-rank-work_13947229", }); });</script></li><li class="js-percentile-work_13947229 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13947229; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_13947229"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_13947229 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="13947229"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13947229; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13947229]").text(description); $(".js-view-count-work_13947229").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13947229").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13947229"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1366" href="https://www.academia.edu/Documents/in/Late_Middle_Ages">Late Middle Ages</a>, <script data-card-contents-for-ri="1366" type="text/json">{"id":1366,"name":"Late Middle Ages","url":"https://www.academia.edu/Documents/in/Late_Middle_Ages?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1446" href="https://www.academia.edu/Documents/in/Medieval_History">Medieval History</a>, <script data-card-contents-for-ri="1446" type="text/json">{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7870" href="https://www.academia.edu/Documents/in/Medieval_Archaeology">Medieval Archaeology</a><script data-card-contents-for-ri="7870" type="text/json">{"id":7870,"name":"Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Medieval_Archaeology?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13947229]'), work: {"id":13947229,"title":"The Marginalisation and Misunderstandings of Late-medieval English Transi Memorials","created_at":"2015-07-12T07:19:19.049-07:00","url":"https://www.academia.edu/13947229/The_Marginalisation_and_Misunderstandings_of_Late_medieval_English_Transi_Memorials?f_ri=8865","dom_id":"work_13947229","summary":"This paper explores the marginalisation and misunderstandings of the 38 English late-medieval carved cadaver memorials, generally known as transi tombs, and suggests a reason for why this might be the case in modern society.","downloadable_attachments":[{"id":38165061,"asset_id":13947229,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26046,"first_name":"Christina","last_name":"Welch","domain_name":"winchester","page_name":"ChristinaWelch","display_name":"Christina Welch","profile_url":"https://winchester.academia.edu/ChristinaWelch?f_ri=8865","photo":"https://0.academia-photos.com/26046/17300486/17409852/s65_christina.welch.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":1366,"name":"Late Middle Ages","url":"https://www.academia.edu/Documents/in/Late_Middle_Ages?f_ri=8865","nofollow":false},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=8865","nofollow":false},{"id":7870,"name":"Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Medieval_Archaeology?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865"},{"id":21742,"name":"Anthropology of Death","url":"https://www.academia.edu/Documents/in/Anthropology_of_Death?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_163324" data-work_id="163324" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/163324/Body_Doubles_Sculpture_in_Britain_1877_1905">Body Doubles: Sculpture in Britain, 1877-1905</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Late nineteenth-century Britain experienced an explosion of interest in sculpture. Sculptors of the “New Sculpture” movement sought a new direction and a modern idiom for their art. This book analyzes for the first time the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_163324" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Late nineteenth-century Britain experienced an explosion of interest in sculpture. Sculptors of the “New Sculpture” movement sought a new direction and a modern idiom for their art. This book analyzes for the first time the art-theoretical concerns of the late-Victorian sculptors, focusing on their attitudes toward representation of the human body. David J. Getsy uncovers a previously unrecognized sophistication in the New Sculpture through close study of works by key figures in the movement: Frederic Leighton, Alfred Gilbert, Hamo Thornycroft, Edward Onslow Ford, and James Havard Thomas.<br /><br />These artists sought to activate and animate the conventional format of the ideal statue so that it would convincingly stand in for both a living body and an ideal image. Getsy demonstrates the conceptual complexity of the New Sculptors and places their concerns within the larger framework of modern sculpture.<br /><br /><a href="http://www.amazon.com/Body-Doubles-Sculpture-Britain-1877-1905/dp/0300105126/ref=sr_1_2?ie=UTF8&s=books&qid=1297084836&sr=8-2" rel="nofollow">http://www.amazon.com/Body-Doubles-Sculpture-Britain-1877-1905/dp/0300105126/ref=sr_1_2?ie=UTF8&s=books&qid=1297084836&sr=8-2</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/163324" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8d0a3efc83fb7548a24ce11413c9bf87" rel="nofollow" data-download="{"attachment_id":39286368,"asset_id":163324,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39286368/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="15333" href="https://virginia.academia.edu/DavidGetsy">David J Getsy</a><script data-card-contents-for-user="15333" type="text/json">{"id":15333,"first_name":"David","last_name":"Getsy","domain_name":"virginia","page_name":"DavidGetsy","display_name":"David J Getsy","profile_url":"https://virginia.academia.edu/DavidGetsy?f_ri=8865","photo":"https://0.academia-photos.com/15333/5148/45427445/s65_david.getsy.jpg"}</script></span></span></li><li class="js-paper-rank-work_163324 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="163324"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 163324, container: ".js-paper-rank-work_163324", }); 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$(".js-view-count[data-work-id=163324]").text(description); $(".js-view-count-work_163324").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_163324").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="163324"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4917" href="https://www.academia.edu/Documents/in/Gender_and_Sexuality">Gender and Sexuality</a><script data-card-contents-for-ri="4917" type="text/json">{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=163324]'), work: {"id":163324,"title":"Body Doubles: Sculpture in Britain, 1877-1905","created_at":"2008-11-04T22:55:21.744-08:00","url":"https://www.academia.edu/163324/Body_Doubles_Sculpture_in_Britain_1877_1905?f_ri=8865","dom_id":"work_163324","summary":"Late nineteenth-century Britain experienced an explosion of interest in sculpture. Sculptors of the “New Sculpture” movement sought a new direction and a modern idiom for their art. This book analyzes for the first time the art-theoretical concerns of the late-Victorian sculptors, focusing on their attitudes toward representation of the human body. David J. Getsy uncovers a previously unrecognized sophistication in the New Sculpture through close study of works by key figures in the movement: Frederic Leighton, Alfred Gilbert, Hamo Thornycroft, Edward Onslow Ford, and James Havard Thomas.\n\nThese artists sought to activate and animate the conventional format of the ideal statue so that it would convincingly stand in for both a living body and an ideal image. Getsy demonstrates the conceptual complexity of the New Sculptors and places their concerns within the larger framework of modern sculpture.\n\nhttp://www.amazon.com/Body-Doubles-Sculpture-Britain-1877-1905/dp/0300105126/ref=sr_1_2?ie=UTF8\u0026s=books\u0026qid=1297084836\u0026sr=8-2","downloadable_attachments":[{"id":39286368,"asset_id":163324,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15333,"first_name":"David","last_name":"Getsy","domain_name":"virginia","page_name":"DavidGetsy","display_name":"David J Getsy","profile_url":"https://virginia.academia.edu/DavidGetsy?f_ri=8865","photo":"https://0.academia-photos.com/15333/5148/45427445/s65_david.getsy.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=8865","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8865","nofollow":false},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=8865","nofollow":false},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=8865","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8865"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender?f_ri=8865"},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865"},{"id":15713,"name":"Victorian Art","url":"https://www.academia.edu/Documents/in/Victorian_Art?f_ri=8865"},{"id":22453,"name":"Materiality of Art","url":"https://www.academia.edu/Documents/in/Materiality_of_Art?f_ri=8865"},{"id":30799,"name":"Sculptural Studies","url":"https://www.academia.edu/Documents/in/Sculptural_Studies?f_ri=8865"},{"id":35998,"name":"19th Century Britain","url":"https://www.academia.edu/Documents/in/19th_Century_Britain?f_ri=8865"},{"id":36500,"name":"19th-20th Century British Sculpture","url":"https://www.academia.edu/Documents/in/19th-20th_Century_British_Sculpture?f_ri=8865"},{"id":38444,"name":"20th Century Britain","url":"https://www.academia.edu/Documents/in/20th_Century_Britain?f_ri=8865"},{"id":50762,"name":"Corporeality","url":"https://www.academia.edu/Documents/in/Corporeality?f_ri=8865"},{"id":52717,"name":"Academic art","url":"https://www.academia.edu/Documents/in/Academic_art?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2525047" data-work_id="2525047" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2525047/Greek_Large_Scale_Bronze_Statuary_The_Late_Archaic_and_Classical_Periods">Greek Large-Scale Bronze Statuary: The Late Archaic and Classical Periods</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book presents a new study of Greek large-scale bronze statuary of the late Archaic and Classical periods. It examines the discovery, origin, style, date, artistic attribution, identification, and interpretation of the surviving... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2525047" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book presents a new study of Greek large-scale bronze statuary of the late Archaic and Classical periods. It examines the discovery, origin, style, date, artistic attribution, identification, and interpretation of the surviving bronzes, and focuses in particular on their technical features and casting techniques. It contains over 170 plates of photographs and drawings to illustrate its discussion.<br /><br />It also places the development of the casting techniques in connection with the stylistic evolution in Greek free-standing sculpture. During the Classical period, artists preferred bronze to marble when creating their contrapposto figures. Indisputably, bronze gave particular freedom to artists in creating three-dimensional figures. In addition, the evolution in style encouraged the development of the uses of bronze to serve the new needs and tendencies in sculpture during the late Archaic and especially the Classical period. Through the examination of how technical matters affect style, this book presents fresh interpretations of these important monuments of Greek art and offers a new approach in the field of Greek free-standing bronze sculpture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2525047" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7da8ce6335daddbc309674ceae4e8a12" rel="nofollow" data-download="{"attachment_id":60792190,"asset_id":2525047,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60792190/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2783848" href="https://kcl.academia.edu/KosmasDafas">Dr Kosmas A. Dafas</a><script data-card-contents-for-user="2783848" type="text/json">{"id":2783848,"first_name":"Dr Kosmas","last_name":"A. Dafas","domain_name":"kcl","page_name":"KosmasDafas","display_name":"Dr Kosmas A. Dafas","profile_url":"https://kcl.academia.edu/KosmasDafas?f_ri=8865","photo":"https://0.academia-photos.com/2783848/909449/34823675/s65_dr_kosmas.a._dafas.jpg"}</script></span></span></li><li class="js-paper-rank-work_2525047 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2525047"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2525047, container: ".js-paper-rank-work_2525047", }); });</script></li><li class="js-percentile-work_2525047 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2525047; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2525047"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2525047 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2525047"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2525047; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2525047]").text(description); $(".js-view-count-work_2525047").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2525047").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2525047"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">109</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="392" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="393" href="https://www.academia.edu/Documents/in/Classical_Archaeology">Classical Archaeology</a>, <script data-card-contents-for-ri="393" type="text/json">{"id":393,"name":"Classical Archaeology","url":"https://www.academia.edu/Documents/in/Classical_Archaeology?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="396" href="https://www.academia.edu/Documents/in/Maritime_Archaeology">Maritime Archaeology</a>, <script data-card-contents-for-ri="396" type="text/json">{"id":396,"name":"Maritime Archaeology","url":"https://www.academia.edu/Documents/in/Maritime_Archaeology?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="816" href="https://www.academia.edu/Documents/in/Classics">Classics</a><script data-card-contents-for-ri="816" type="text/json">{"id":816,"name":"Classics","url":"https://www.academia.edu/Documents/in/Classics?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2525047]'), work: {"id":2525047,"title":"Greek Large-Scale Bronze Statuary: The Late Archaic and Classical Periods","created_at":"2013-02-06T03:45:49.664-08:00","url":"https://www.academia.edu/2525047/Greek_Large_Scale_Bronze_Statuary_The_Late_Archaic_and_Classical_Periods?f_ri=8865","dom_id":"work_2525047","summary":"This book presents a new study of Greek large-scale bronze statuary of the late Archaic and Classical periods. It examines the discovery, origin, style, date, artistic attribution, identification, and interpretation of the surviving bronzes, and focuses in particular on their technical features and casting techniques. It contains over 170 plates of photographs and drawings to illustrate its discussion.\n\nIt also places the development of the casting techniques in connection with the stylistic evolution in Greek free-standing sculpture. During the Classical period, artists preferred bronze to marble when creating their contrapposto figures. Indisputably, bronze gave particular freedom to artists in creating three-dimensional figures. In addition, the evolution in style encouraged the development of the uses of bronze to serve the new needs and tendencies in sculpture during the late Archaic and especially the Classical period. Through the examination of how technical matters affect style, this book presents fresh interpretations of these important monuments of Greek art and offers a new approach in the field of Greek free-standing bronze sculpture.","downloadable_attachments":[{"id":60792190,"asset_id":2525047,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2783848,"first_name":"Dr Kosmas","last_name":"A. Dafas","domain_name":"kcl","page_name":"KosmasDafas","display_name":"Dr Kosmas A. 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Science","url":"https://www.academia.edu/Documents/in/History_of_Science?f_ri=8865"},{"id":6309,"name":"Metallurgy","url":"https://www.academia.edu/Documents/in/Metallurgy?f_ri=8865"},{"id":8498,"name":"Welding Engineering","url":"https://www.academia.edu/Documents/in/Welding_Engineering?f_ri=8865"},{"id":8527,"name":"Metalwork (Archaeology)","url":"https://www.academia.edu/Documents/in/Metalwork_Archaeology_?f_ri=8865"},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865"},{"id":12797,"name":"Classical Art","url":"https://www.academia.edu/Documents/in/Classical_Art?f_ri=8865"},{"id":12807,"name":"Archaeometry","url":"https://www.academia.edu/Documents/in/Archaeometry?f_ri=8865"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865"},{"id":17374,"name":"Restoration","url":"https://www.academia.edu/Documents/in/Restoration?f_ri=8865"},{"id":17618,"name":"Greek 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Symposiums Histoire de lart vol</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cet ouvrage rassemble une grande part des contributions réalisées dans le cadre des quatre premiers symposiums d’Histoire de l’Art de la mairie du 11 : Artistes des Lumières (26 février 2015), Chefs-d’œuvre des artistes et maîtres... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39733378" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet ouvrage rassemble une grande part des contributions réalisées dans le cadre des quatre premiers symposiums d’Histoire de l’Art de la mairie du 11 : Artistes des Lumières (26 février 2015), Chefs-d’œuvre des artistes et maîtres artisans du XVIIIe siècle (8 juillet 2015), Si Paris m’était conté (2-3 mars 2016) et Plaisirs parisiens (5 juillet 2016), placés sous la conduite de Christophe Henry et Sébastien Chauffour. Comme les cinq autres qui les ont suivies à ce jour, ces rencontres ont été l’occasion de tester les origines d’une identité artistique et culturelle parisienne qui ne cesse de se manifester, malgré le passage du temps, l’érosion des savoir-faire et le trouble des références.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39733378" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0ee15bf292123935d9fc65d223222808" rel="nofollow" data-download="{"attachment_id":59911460,"asset_id":39733378,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59911460/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33982526" href="https://lyceeduparc.academia.edu/CHRISTOPHEHENRY">CHRISTOPHE HENRY</a><script data-card-contents-for-user="33982526" type="text/json">{"id":33982526,"first_name":"CHRISTOPHE","last_name":"HENRY","domain_name":"lyceeduparc","page_name":"CHRISTOPHEHENRY","display_name":"CHRISTOPHE HENRY","profile_url":"https://lyceeduparc.academia.edu/CHRISTOPHEHENRY?f_ri=8865","photo":"https://0.academia-photos.com/33982526/9985894/17644777/s65_christophe.henry.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-39733378">+5</span><div class="hidden js-additional-users-39733378"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://univ-paris1.academia.edu/HadrienVolle">Hadrien Volle</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ehess.academia.edu/ValentinCombe">Valentin Combe</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cearc.academia.edu/Fran%C3%A7oisGILLES">François GILLES</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/PatriciaLemonnier">Patricia Lemonnier</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://univ-paris1.academia.edu/Fr%C3%A9d%C3%A9ricJimeno">Frédéric Jimeno</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-39733378'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-39733378').html(); 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37848223" data-work_id="37848223" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37848223/The_Life_of_Objects_Sculpture_as_Subject_and_Object_of_the_Cameras_Lens">'The Life of Objects': Sculpture as Subject and Object of the Camera's Lens</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37848223" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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data-has-card-for-user="7952" href="https://oxford.academia.edu/GeraldineJohnson">Geraldine A Johnson</a><script data-card-contents-for-user="7952" type="text/json">{"id":7952,"first_name":"Geraldine","last_name":"Johnson","domain_name":"oxford","page_name":"GeraldineJohnson","display_name":"Geraldine A Johnson","profile_url":"https://oxford.academia.edu/GeraldineJohnson?f_ri=8865","photo":"https://0.academia-photos.com/7952/152034/202510/s65_geraldine.johnson.jpg"}</script></span></span></li><li class="js-paper-rank-work_37848223 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37848223"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37848223, container: ".js-paper-rank-work_37848223", }); });</script></li><li class="js-percentile-work_37848223 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span 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href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="138367" href="https://www.academia.edu/Documents/in/Brancusi">Brancusi</a><script data-card-contents-for-ri="138367" type="text/json">{"id":138367,"name":"Brancusi","url":"https://www.academia.edu/Documents/in/Brancusi?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ 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Talbot","url":"https://www.academia.edu/Documents/in/William_Henry_Fox_Talbot?f_ri=8865"},{"id":2612017,"name":"Josef Sudek","url":"https://www.academia.edu/Documents/in/Josef_Sudek?f_ri=8865"},{"id":3068838,"name":"photography and sculpture","url":"https://www.academia.edu/Documents/in/photography_and_sculpture?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14256373" data-work_id="14256373" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14256373/Zur_Herkunft_des_Alabasters_des_Epitaphs_von_Herzog_Ulrich_im_G%C3%BCstrower_Dom_Schwierigkeiten_einer_Provenienzbestimmung">Zur Herkunft des Alabasters des Epitaphs von Herzog Ulrich im Güstrower Dom – Schwierigkeiten einer Provenienzbestimmung.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Authorship: A. Fuchs, A. H. Cooper, I. Gans, M. Krempler, M Malpass 2015. This paper describes the provenance and restoration of the alabaster monument to Duke Ulrich in Güstrow Cathedral, Germany. The alabaster is shown to be of English... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14256373" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Authorship: A. Fuchs, A. H. Cooper, I. Gans, M. Krempler, M Malpass 2015. This paper describes the provenance and restoration of the alabaster monument to Duke Ulrich in Güstrow Cathedral, Germany. The alabaster is shown to be of English provenance probably from the Chellaston area. Material was sourced from here for the restoration.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14256373" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="88d5618f9ec1f496cc50dd357009e7c3" rel="nofollow" data-download="{"attachment_id":38247884,"asset_id":14256373,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38247884/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3233648" href="https://nerc.academia.edu/AnthonyCooper">Anthony H Cooper</a><script data-card-contents-for-user="3233648" type="text/json">{"id":3233648,"first_name":"Anthony","last_name":"Cooper","domain_name":"nerc","page_name":"AnthonyCooper","display_name":"Anthony H Cooper","profile_url":"https://nerc.academia.edu/AnthonyCooper?f_ri=8865","photo":"https://0.academia-photos.com/3233648/3299222/3882341/s65_anthony.cooper.jpg"}</script></span></span></li><li class="js-paper-rank-work_14256373 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14256373"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14256373, container: ".js-paper-rank-work_14256373", }); 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$(".js-view-count[data-work-id=14256373]").text(description); $(".js-view-count-work_14256373").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_14256373").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="14256373"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="180056" href="https://www.academia.edu/Documents/in/Gypsum">Gypsum</a>, <script data-card-contents-for-ri="180056" type="text/json">{"id":180056,"name":"Gypsum","url":"https://www.academia.edu/Documents/in/Gypsum?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="729982" href="https://www.academia.edu/Documents/in/Alabaster_Sculpture">Alabaster Sculpture</a><script data-card-contents-for-ri="729982" type="text/json">{"id":729982,"name":"Alabaster Sculpture","url":"https://www.academia.edu/Documents/in/Alabaster_Sculpture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14256373]'), work: {"id":14256373,"title":"Zur Herkunft des Alabasters des Epitaphs von Herzog Ulrich im Güstrower Dom – Schwierigkeiten einer Provenienzbestimmung.","created_at":"2015-07-21T05:21:01.011-07:00","url":"https://www.academia.edu/14256373/Zur_Herkunft_des_Alabasters_des_Epitaphs_von_Herzog_Ulrich_im_G%C3%BCstrower_Dom_Schwierigkeiten_einer_Provenienzbestimmung?f_ri=8865","dom_id":"work_14256373","summary":"Authorship: A. Fuchs, A. H. Cooper, I. Gans, M. Krempler, M Malpass 2015. This paper describes the provenance and restoration of the alabaster monument to Duke Ulrich in Güstrow Cathedral, Germany. The alabaster is shown to be of English provenance probably from the Chellaston area. Material was sourced from here for the restoration.","downloadable_attachments":[{"id":38247884,"asset_id":14256373,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3233648,"first_name":"Anthony","last_name":"Cooper","domain_name":"nerc","page_name":"AnthonyCooper","display_name":"Anthony H Cooper","profile_url":"https://nerc.academia.edu/AnthonyCooper?f_ri=8865","photo":"https://0.academia-photos.com/3233648/3299222/3882341/s65_anthony.cooper.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":180056,"name":"Gypsum","url":"https://www.academia.edu/Documents/in/Gypsum?f_ri=8865","nofollow":false},{"id":729982,"name":"Alabaster Sculpture","url":"https://www.academia.edu/Documents/in/Alabaster_Sculpture?f_ri=8865","nofollow":false},{"id":1209488,"name":"English Alabasters","url":"https://www.academia.edu/Documents/in/English_Alabasters?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40746610" data-work_id="40746610" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40746610/_J_ai_accord%C3%A9_avec_le_Sieur_Coudray_Sculpteur_du_Roy_statues_du_pierre_O_dekoracji_rze%C5%BAbiarskiej_rezydencji_Cetner%C3%B3w_w_Krakowcu_w_Residentia_in_tempori_belli_et_pacis_Materia%C5%82y_do_badan_i_ochrony_za%C5%82o%C5%BCe%C5%84_rezydencjonalnych_i_obronnych_Warszawa_2019_s_226_245">„J’ai accordé avec le Sieur Coudray Sculpteur du Roy statues du pierre…”. O dekoracji rzeźbiarskiej rezydencji Cetnerów w Krakowcu, [w:] Residentia in tempori belli et pacis. Materiały do badan i ochrony założeń rezydencjonalnych i obronnych, Warszawa 2019, s. 226-245.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ignacy Aleksander Cetner is one of the lesser‑known and a man who rendered great service to the culture magnates of the Saxon and king Stanisław August Poniatowski era. His French formation resulted in artistic foundations – his main... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40746610" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ignacy Aleksander Cetner is one of the lesser‑known and a man who rendered great service to the culture magnates of the Saxon and king Stanisław August Poniatowski era. His French formation resulted in artistic foundations – his main residence in Krakowiec was based on French designs, was designed with a garden by a French architect, Pierre Ricaud de Tirregaille and decorated with a complex of stone sculptures chiseled by Pierre Coudray. Krakowiec lanadscaping consisted of a palace and two perpendicular to it, twin annexes embracing a rectangular cour d’honneur with an entrance gate on the axis. Until the 20th century side annexes had been preserved. The palace was a more magnificent structure, on the plan of an elongated rectangle, with a middlel avant‑corps raised by one storey. The main part was a single‑storey building on the plan of an elongated rectangle with three avants‑corps. The side avants‑corps of garden facade are crowned with small parapets with dormers. The middle avant‑corps`s parapet was crowned by the extended cartouche held up by putto in the rocaille type with panoply and a garland. The garden elevation was almost identical. The lanadscaping was an example of a solution in the palais entre cour et jardin type. The buildings` complex was preceded by a courtyard closed by a stately gate, while at the back there was a geometric garden in the French type with a long channel on the axis. The garden were planted with exotic trees and shrubs which Krakowiec was famous for. Cetner’s order for twenty‑four stone figures by Pierre Coudray to the garden remains an unknown fact. At Lviv Stefanyk National Science Library`s preserved archives allow to trace the creation`s circumstances of the sculptural, design by Pierre Coudray, for the residence in Krakowiec. It is possible that Coudray was also responsible for the sculptural decoration of the palace: a rocaille cartouche held up by a sitting putto, decorated with a garland and panoply plunged from behind. Probably this architect designed the garden, determined the number of figures and assigned their place. It is important to emphasize the interest that Ricaud has for the gardens` planning art. His one‑storey, developed horizontally palaces he designed in close connection with them, valuing the ground floor as bel étage and reluctantly rising up more storey. That was also the case in Krakowiec. A two‑storey hall, as well as offices in the corner avant‑corps, are connected to the garden with porte‑fenetres preceded by steps. This is an example of the direct joining the palace ground floors’ interiors to a geometric garden which is a kind of stately rooms` prolongation in nature, often found in Ricaud’s work.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40746610" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c066039bf3328bf5dead7795adfeb032" rel="nofollow" data-download="{"attachment_id":61028070,"asset_id":40746610,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61028070/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22366530" href="https://pan-pl.academia.edu/JakubSito">Jakub Sito</a><script data-card-contents-for-user="22366530" type="text/json">{"id":22366530,"first_name":"Jakub","last_name":"Sito","domain_name":"pan-pl","page_name":"JakubSito","display_name":"Jakub Sito","profile_url":"https://pan-pl.academia.edu/JakubSito?f_ri=8865","photo":"https://0.academia-photos.com/22366530/34817777/30445110/s65_jakub.sito.jpg"}</script></span></span></li><li class="js-paper-rank-work_40746610 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40746610"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40746610, container: ".js-paper-rank-work_40746610", }); });</script></li><li class="js-percentile-work_40746610 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40746610; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40746610"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40746610 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40746610"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40746610; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40746610]").text(description); $(".js-view-count-work_40746610").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40746610").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40746610"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7072" href="https://www.academia.edu/Documents/in/XVIII_century">XVIII century</a>, <script data-card-contents-for-ri="7072" type="text/json">{"id":7072,"name":"XVIII century","url":"https://www.academia.edu/Documents/in/XVIII_century?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="47024" href="https://www.academia.edu/Documents/in/Polish_Art_and_Architecture">Polish Art and Architecture</a><script data-card-contents-for-ri="47024" type="text/json">{"id":47024,"name":"Polish Art and Architecture","url":"https://www.academia.edu/Documents/in/Polish_Art_and_Architecture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40746610]'), work: {"id":40746610,"title":"„J’ai accordé avec le Sieur Coudray Sculpteur du Roy statues du pierre…”. O dekoracji rzeźbiarskiej rezydencji Cetnerów w Krakowcu, [w:] Residentia in tempori belli et pacis. Materiały do badan i ochrony założeń rezydencjonalnych i obronnych, Warszawa 2019, s. 226-245.","created_at":"2019-10-26T14:03:28.103-07:00","url":"https://www.academia.edu/40746610/_J_ai_accord%C3%A9_avec_le_Sieur_Coudray_Sculpteur_du_Roy_statues_du_pierre_O_dekoracji_rze%C5%BAbiarskiej_rezydencji_Cetner%C3%B3w_w_Krakowcu_w_Residentia_in_tempori_belli_et_pacis_Materia%C5%82y_do_badan_i_ochrony_za%C5%82o%C5%BCe%C5%84_rezydencjonalnych_i_obronnych_Warszawa_2019_s_226_245?f_ri=8865","dom_id":"work_40746610","summary":"Ignacy Aleksander Cetner is one of the lesser‑known and a man who rendered great service to the culture magnates of the Saxon and king Stanisław August Poniatowski era. His French formation resulted in artistic foundations – his main residence in Krakowiec was based on French designs, was designed with a garden by a French architect, Pierre Ricaud de Tirregaille and decorated with a complex of stone sculptures chiseled by Pierre Coudray. Krakowiec lanadscaping consisted of a palace and two perpendicular to it, twin annexes embracing a rectangular cour d’honneur with an entrance gate on the axis. Until the 20th century side annexes had been preserved. The palace was a more magnificent structure, on the plan of an elongated rectangle, with a middlel avant‑corps raised by one storey. The main part was a single‑storey building on the plan of an elongated rectangle with three avants‑corps. The side avants‑corps of garden facade are crowned with small parapets with dormers. The middle avant‑corps`s parapet was crowned by the extended cartouche held up by putto in the rocaille type with panoply and a garland. The garden elevation was almost identical. The lanadscaping was an example of a solution in the palais entre cour et jardin type. The buildings` complex was preceded by a courtyard closed by a stately gate, while at the back there was a geometric garden in the French type with a long channel on the axis. The garden were planted with exotic trees and shrubs which Krakowiec was famous for. Cetner’s order for twenty‑four stone figures by Pierre Coudray to the garden remains an unknown fact. At Lviv Stefanyk National Science Library`s preserved archives allow to trace the creation`s circumstances of the sculptural, design by Pierre Coudray, for the residence in Krakowiec. It is possible that Coudray was also responsible for the sculptural decoration of the palace: a rocaille cartouche held up by a sitting putto, decorated with a garland and panoply plunged from behind. Probably this architect designed the garden, determined the number of figures and assigned their place. It is important to emphasize the interest that Ricaud has for the gardens` planning art. His one‑storey, developed horizontally palaces he designed in close connection with them, valuing the ground floor as bel étage and reluctantly rising up more storey. That was also the case in Krakowiec. A two‑storey hall, as well as offices in the corner avant‑corps, are connected to the garden with porte‑fenetres preceded by steps. This is an example of the direct joining the palace ground floors’ interiors to a geometric garden which is a kind of stately rooms` prolongation in nature, often found in Ricaud’s work.\n","downloadable_attachments":[{"id":61028070,"asset_id":40746610,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22366530,"first_name":"Jakub","last_name":"Sito","domain_name":"pan-pl","page_name":"JakubSito","display_name":"Jakub Sito","profile_url":"https://pan-pl.academia.edu/JakubSito?f_ri=8865","photo":"https://0.academia-photos.com/22366530/34817777/30445110/s65_jakub.sito.jpg"}],"research_interests":[{"id":7072,"name":"XVIII century","url":"https://www.academia.edu/Documents/in/XVIII_century?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":47024,"name":"Polish Art and Architecture","url":"https://www.academia.edu/Documents/in/Polish_Art_and_Architecture?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31701692" data-work_id="31701692" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31701692/The_First_Emperor_Chinas_Entombed_Warriors">The First Emperor: Chinas Entombed Warriors</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31701692" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eaff0f990fe0e552ffd60ba3a7a56a35" rel="nofollow" data-download="{"attachment_id":52016744,"asset_id":31701692,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52016744/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25635675" href="https://independent.academia.edu/YangLiu627">Yang Liu</a><script data-card-contents-for-user="25635675" type="text/json">{"id":25635675,"first_name":"Yang","last_name":"Liu","domain_name":"independent","page_name":"YangLiu627","display_name":"Yang Liu","profile_url":"https://independent.academia.edu/YangLiu627?f_ri=8865","photo":"https://0.academia-photos.com/25635675/9744534/36289201/s65_yang.liu.jpg"}</script></span></span></li><li class="js-paper-rank-work_31701692 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31701692"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31701692, container: ".js-paper-rank-work_31701692", }); 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$(".js-view-count[data-work-id=31701692]").text(description); $(".js-view-count-work_31701692").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31701692").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31701692"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2190" href="https://www.academia.edu/Documents/in/Chinese_Studies">Chinese Studies</a>, <script data-card-contents-for-ri="2190" type="text/json">{"id":2190,"name":"Chinese Studies","url":"https://www.academia.edu/Documents/in/Chinese_Studies?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="24516" href="https://www.academia.edu/Documents/in/Chinese_archaeology">Chinese archaeology</a><script data-card-contents-for-ri="24516" type="text/json">{"id":24516,"name":"Chinese archaeology","url":"https://www.academia.edu/Documents/in/Chinese_archaeology?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31701692]'), work: {"id":31701692,"title":"The First Emperor: Chinas Entombed Warriors","created_at":"2017-03-03T16:28:03.215-08:00","url":"https://www.academia.edu/31701692/The_First_Emperor_Chinas_Entombed_Warriors?f_ri=8865","dom_id":"work_31701692","summary":null,"downloadable_attachments":[{"id":52016744,"asset_id":31701692,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25635675,"first_name":"Yang","last_name":"Liu","domain_name":"independent","page_name":"YangLiu627","display_name":"Yang Liu","profile_url":"https://independent.academia.edu/YangLiu627?f_ri=8865","photo":"https://0.academia-photos.com/25635675/9744534/36289201/s65_yang.liu.jpg"}],"research_interests":[{"id":2190,"name":"Chinese Studies","url":"https://www.academia.edu/Documents/in/Chinese_Studies?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":24516,"name":"Chinese archaeology","url":"https://www.academia.edu/Documents/in/Chinese_archaeology?f_ri=8865","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=8865"},{"id":56788,"name":"Pre-Qin Period in Chinese History","url":"https://www.academia.edu/Documents/in/Pre-Qin_Period_in_Chinese_History?f_ri=8865"},{"id":302582,"name":"Ancient Chinese Bronzes","url":"https://www.academia.edu/Documents/in/Ancient_Chinese_Bronzes?f_ri=8865"},{"id":557490,"name":"Chinese Art history and archaeology","url":"https://www.academia.edu/Documents/in/Chinese_Art_history_and_archaeology?f_ri=8865"},{"id":1941305,"name":"First Emperor of Qin","url":"https://www.academia.edu/Documents/in/First_Emperor_of_Qin?f_ri=8865"},{"id":1966722,"name":"Archaeology First Emperor Tomb","url":"https://www.academia.edu/Documents/in/Archaeology_First_Emperor_Tomb?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5137644" data-work_id="5137644" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5137644/Alberto_Garutti_Didascalia_Caption">Alberto Garutti. 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Written by Giovanni Battista Manera to Giuseppe Monico and held in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4915988" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article transcribes two previously unpublished letters regarding Antonio Canova’s trips to Possagno in 1819 and 1820 to oversee the building of the Tempio. Written by Giovanni Battista Manera to Giuseppe Monico and held in the Biblioteca Seminario Patriarcale, Venice, the letters describe an incident in which Canova, displeased with the hairstyles of the young women from Possagno, selected the loveliest woman to act as a model for the others and proceeded to braid her hair “based on the style of his own statues.” This remarkable incident reflects the bodily engagement that is a fundamental part of Neoclassicism’s historiography. More importantly, it reiterates Canova’s participation in the performative culture of Neoclassicism and the intense physical engagement he had with the art of sculpture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4915988" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3925711" href="https://yale.academia.edu/ChristinaFerando">Christina Ferando</a><script data-card-contents-for-user="3925711" type="text/json">{"id":3925711,"first_name":"Christina","last_name":"Ferando","domain_name":"yale","page_name":"ChristinaFerando","display_name":"Christina Ferando","profile_url":"https://yale.academia.edu/ChristinaFerando?f_ri=8865","photo":"https://0.academia-photos.com/3925711/1681895/118309797/s65_christina.ferando.jpg"}</script></span></span></li><li class="js-paper-rank-work_4915988 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4915988"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4915988, container: ".js-paper-rank-work_4915988", }); 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"Heaps of Rags and Double Visions: The Interpretation of the Classical Venus in Arte Povera" in 'IKON Journal of Iconographic Studies', vol. 13 "The Afterlife of Antiquity' (2020)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article examines the reception of the classical Venus in Arte Povera through two case studies: Venus of the Rags (1967- 1974) by Michelangelo Pistoletto and Mimesis (1975-1976) by Giulio Paolini. By adopting a cultural biographical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44106391" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article examines the reception of the classical Venus in Arte Povera through two case studies: Venus of the Rags (1967- 1974) by Michelangelo Pistoletto and Mimesis (1975-1976) by Giulio Paolini. By adopting a cultural biographical approach, the reception of the original archetype, i.e. the Greek lost original Aphrodite of Knidos by Praxiteles, is investigated through its replicas and imitations, specifically the Roman copy, known as the Medici Venus, for the work of Paolini, and Venus with the Apple by the Neoclassical sculptor Bertel Thorvalsden for Pistoletto. The use of ready-made replicas prompts a discussion on the reproducibility of sculpture and the dichotomy between the original and the copy, while an analysis of the materiality of the sculptures makes it possible to shed light on the role of the plaster casts in the history of art and the references evoked by the use of different materials, including those with kitsch associations. The choice of Venus as a subject is analysed as connected to a meditation on the concept of beauty, both intended as an aesthetic ideal within the domain of art and in its large variety of feminine versions. Lastly, the reception of classical sculpture will be analysed from a perspective of continuity with the past and with Mediterranean artistic heritage, as an attempt at reclaiming an endangered cultural memory at a time of rapid changes and international influences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44106391" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d0b0d7da93efb70b163f4ce534ff5598" rel="nofollow" data-download="{"attachment_id":102151536,"asset_id":44106391,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/102151536/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10685348" href="https://biblhertz.academia.edu/RobertaMinnucci">Roberta Minnucci</a><script data-card-contents-for-user="10685348" type="text/json">{"id":10685348,"first_name":"Roberta","last_name":"Minnucci","domain_name":"biblhertz","page_name":"RobertaMinnucci","display_name":"Roberta Minnucci","profile_url":"https://biblhertz.academia.edu/RobertaMinnucci?f_ri=8865","photo":"https://0.academia-photos.com/10685348/14769195/79092477/s65_roberta.minnucci.jpg"}</script></span></span></li><li class="js-paper-rank-work_44106391 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44106391"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44106391, container: ".js-paper-rank-work_44106391", }); 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Lastly, the reception of classical sculpture will be analysed from a perspective of continuity with the past and with Mediterranean artistic heritage, as an attempt at reclaiming an endangered cultural memory at a time of rapid changes and international influences.","downloadable_attachments":[{"id":102151536,"asset_id":44106391,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10685348,"first_name":"Roberta","last_name":"Minnucci","domain_name":"biblhertz","page_name":"RobertaMinnucci","display_name":"Roberta Minnucci","profile_url":"https://biblhertz.academia.edu/RobertaMinnucci?f_ri=8865","photo":"https://0.academia-photos.com/10685348/14769195/79092477/s65_roberta.minnucci.jpg"}],"research_interests":[{"id":136,"name":"Cultural 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href="https://www.academia.edu/19474049/A_imagem_escult%C3%B3rica_do_%C3%ADndio_durante_o_Imp%C3%AArio_Leon_Despres_de_Cluny">A imagem escultórica do índio durante o Impêrio: Leon Despres de Cluny</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19474049" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7f0ca7b83def67fa8d6b0fa4a3006ac5" rel="nofollow" data-download="{"attachment_id":40640203,"asset_id":19474049,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button 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class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a>, <script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="57054" href="https://www.academia.edu/Documents/in/ESCULTURA">ESCULTURA</a><script data-card-contents-for-ri="57054" type="text/json">{"id":57054,"name":"ESCULTURA","url":"https://www.academia.edu/Documents/in/ESCULTURA?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19474049]'), work: {"id":19474049,"title":"A imagem escultórica do índio durante o Impêrio: Leon Despres de 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6138261" data-work_id="6138261" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6138261/Hans_Arp_and_Donald_Judd_Two_marginal_observations_on_a_critique">Hans Arp and Donald Judd: Two marginal observations on a critique</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6138261" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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href="https://www.academia.edu/Documents/in/Modernism_Art_History_">Modernism (Art History)</a><script data-card-contents-for-ri="14546" type="text/json">{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6138261]'), work: {"id":6138261,"title":"Hans Arp and Donald Judd: Two marginal observations on a critique","created_at":"2014-02-19T14:10:52.049-08:00","url":"https://www.academia.edu/6138261/Hans_Arp_and_Donald_Judd_Two_marginal_observations_on_a_critique?f_ri=8865","dom_id":"work_6138261","summary":null,"downloadable_attachments":[{"id":33035534,"asset_id":6138261,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6013588,"first_name":"Arie","last_name":"Hartog","domain_name":"marcks","page_name":"ArieHartog","display_name":"Arie 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L’entrata a Milano dell’arcivescovo Alfonso Litta</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The author analyses the ephemeral apparatus which were prepared on the occasion of the archbishop Alfonso Litta’s entry in Milan (1652) and the procession way from St. Eustorgio basilica to the cathedral. Both plans and documents let us... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3639253" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The author analyses the ephemeral apparatus which were prepared on the occasion of the archbishop Alfonso Litta’s entry in Milan (1652) and the procession way from St. Eustorgio basilica to the cathedral. Both plans and documents let us clearly identify the designer with the architect Carlo Buzzi and let us know the names of all the painters and sculptors who achieved the works.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3639253" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="11fc91c3e28db5e0105d2bceaa5d55d7" rel="nofollow" data-download="{"attachment_id":31332306,"asset_id":3639253,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31332306/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3225477" href="https://uninsubria.academia.edu/AlessandraCasati">Alessandra Casati</a><script data-card-contents-for-user="3225477" type="text/json">{"id":3225477,"first_name":"Alessandra","last_name":"Casati","domain_name":"uninsubria","page_name":"AlessandraCasati","display_name":"Alessandra Casati","profile_url":"https://uninsubria.academia.edu/AlessandraCasati?f_ri=8865","photo":"https://0.academia-photos.com/3225477/2210150/124778526/s65_alessandra.casati.jpg"}</script></span></span></li><li class="js-paper-rank-work_3639253 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3639253"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3639253, container: ".js-paper-rank-work_3639253", }); 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$(".js-view-count[data-work-id=3639253]").text(description); $(".js-view-count-work_3639253").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3639253").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3639253"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7655" href="https://www.academia.edu/Documents/in/Architectural_History">Architectural History</a>, <script data-card-contents-for-ri="7655" type="text/json">{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a><script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3639253]'), work: {"id":3639253,"title":"Manifestazioni d’allegrezza\". L’entrata a Milano dell’arcivescovo Alfonso Litta","created_at":"2013-06-01T17:06:54.001-07:00","url":"https://www.academia.edu/3639253/Manifestazioni_d_allegrezza_L_entrata_a_Milano_dell_arcivescovo_Alfonso_Litta?f_ri=8865","dom_id":"work_3639253","summary":"The author analyses the ephemeral apparatus which were prepared on the occasion of the archbishop Alfonso Litta’s entry in Milan (1652) and the procession way from St. Eustorgio basilica to the cathedral. Both plans and documents let us clearly identify the designer with the architect Carlo Buzzi and let us know the names of all the painters and sculptors who achieved the works.","downloadable_attachments":[{"id":31332306,"asset_id":3639253,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3225477,"first_name":"Alessandra","last_name":"Casati","domain_name":"uninsubria","page_name":"AlessandraCasati","display_name":"Alessandra Casati","profile_url":"https://uninsubria.academia.edu/AlessandraCasati?f_ri=8865","photo":"https://0.academia-photos.com/3225477/2210150/124778526/s65_alessandra.casati.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=8865","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":14985,"name":"Decorative Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_60820193" data-work_id="60820193" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/60820193/Double_or_Nothing">Double or Nothing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Catalogue essay for an exhibition at the Metropolitan Museum of Art:  Like Life: Sculpture, Color, and the Body, edited by Luke Syson, Sheena Wagstaff, Emerson Bowyer, and Brinda Kumar (Metropolitan Museum of Art, 2018)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/60820193" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb5f44665b91917c6aa22c3dba39814b" rel="nofollow" data-download="{"attachment_id":74094788,"asset_id":60820193,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74094788/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="719125" href="https://204.academia.edu/HillelSchwartz">Hillel Schwartz</a><script data-card-contents-for-user="719125" type="text/json">{"id":719125,"first_name":"Hillel","last_name":"Schwartz","domain_name":"204","page_name":"HillelSchwartz","display_name":"Hillel Schwartz","profile_url":"https://204.academia.edu/HillelSchwartz?f_ri=8865","photo":"https://0.academia-photos.com/719125/245135/289792/s65_hillel.schwartz.jpg"}</script></span></span></li><li class="js-paper-rank-work_60820193 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="60820193"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 60820193, container: ".js-paper-rank-work_60820193", }); 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$(".js-view-count[data-work-id=60820193]").text(description); $(".js-view-count-work_60820193").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_60820193").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="60820193"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="64957" href="https://www.academia.edu/Documents/in/Color_in_Art_and_Science">Color in Art and Science</a>, <script data-card-contents-for-ri="64957" type="text/json">{"id":64957,"name":"Color in Art and Science","url":"https://www.academia.edu/Documents/in/Color_in_Art_and_Science?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="76714" href="https://www.academia.edu/Documents/in/Color">Color</a><script data-card-contents-for-ri="76714" type="text/json">{"id":76714,"name":"Color","url":"https://www.academia.edu/Documents/in/Color?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=60820193]'), work: {"id":60820193,"title":"Double or Nothing","created_at":"2021-11-02T10:16:55.809-07:00","url":"https://www.academia.edu/60820193/Double_or_Nothing?f_ri=8865","dom_id":"work_60820193","summary":"Catalogue essay for an exhibition at the Metropolitan Museum of Art: Like Life: Sculpture, Color, and the Body, edited by Luke Syson, Sheena Wagstaff, Emerson Bowyer, and Brinda Kumar (Metropolitan Museum of Art, 2018) ","downloadable_attachments":[{"id":74094788,"asset_id":60820193,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":719125,"first_name":"Hillel","last_name":"Schwartz","domain_name":"204","page_name":"HillelSchwartz","display_name":"Hillel Schwartz","profile_url":"https://204.academia.edu/HillelSchwartz?f_ri=8865","photo":"https://0.academia-photos.com/719125/245135/289792/s65_hillel.schwartz.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":64957,"name":"Color in Art and Science","url":"https://www.academia.edu/Documents/in/Color_in_Art_and_Science?f_ri=8865","nofollow":false},{"id":76714,"name":"Color","url":"https://www.academia.edu/Documents/in/Color?f_ri=8865","nofollow":false},{"id":163335,"name":"Doppelgänger","url":"https://www.academia.edu/Documents/in/Doppelg%C3%A4nger?f_ri=8865"},{"id":305695,"name":"Doubles","url":"https://www.academia.edu/Documents/in/Doubles?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40730801" data-work_id="40730801" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40730801/Latelier_des_masques_Quand_la_sculpture_se_fait_soin">L'atelier des masques. Quand la sculpture se fait soin.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40730801" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3b1bb7c641e99763bbb86b6e99d868c0" rel="nofollow" data-download="{"attachment_id":61016560,"asset_id":40730801,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61016560/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1632735" href="https://lescorpssecrets.academia.edu/EmmanuelleRaingeval">Emmanuelle Raingeval</a><script data-card-contents-for-user="1632735" type="text/json">{"id":1632735,"first_name":"Emmanuelle","last_name":"Raingeval","domain_name":"lescorpssecrets","page_name":"EmmanuelleRaingeval","display_name":"Emmanuelle Raingeval","profile_url":"https://lescorpssecrets.academia.edu/EmmanuelleRaingeval?f_ri=8865","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_40730801 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40730801"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40730801, container: ".js-paper-rank-work_40730801", }); 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$(".js-view-count[data-work-id=40730801]").text(description); $(".js-view-count-work_40730801").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40730801").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40730801"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2320" href="https://www.academia.edu/Documents/in/Textiles">Textiles</a>, <script data-card-contents-for-ri="2320" type="text/json">{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a><script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40730801]'), work: {"id":40730801,"title":"L'atelier des masques. 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Dopo essere rimasta a lungo nascosta, è stata rinvenuta durante i recenti lavori di consolidamento del portico della basilica di Via Galliera, dove è attesa per la definitiva collocazione all’interno della chiesa. (Mons. Rino Magnani)<br />Si tratta di un tassello archeologico importante che reca la data certa del 1143,<br />ma potrebbe anche trasformarsi in chiave determinante di interpretazione per<br />rileggere le maestranze di quegli anni.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33603015" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="716b97282392e846442155dbef352a27" rel="nofollow" data-download="{"attachment_id":53622617,"asset_id":33603015,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53622617/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6934127" href="https://unibo.academia.edu/PaoloCova">Paolo Cova</a><script data-card-contents-for-user="6934127" type="text/json">{"id":6934127,"first_name":"Paolo","last_name":"Cova","domain_name":"unibo","page_name":"PaoloCova","display_name":"Paolo Cova","profile_url":"https://unibo.academia.edu/PaoloCova?f_ri=8865","photo":"https://0.academia-photos.com/6934127/2656452/3218065/s65_paolo.cova.jpg"}</script></span></span></li><li class="js-paper-rank-work_33603015 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33603015"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33603015, container: ".js-paper-rank-work_33603015", }); 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$(".js-view-count[data-work-id=33603015]").text(description); $(".js-view-count-work_33603015").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33603015").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33603015"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">31</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1446" href="https://www.academia.edu/Documents/in/Medieval_History">Medieval History</a><script data-card-contents-for-ri="1446" type="text/json">{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33603015]'), work: {"id":33603015,"title":"LA CROCE DEL 1143: INTERFERENZE E DERIVAZIONI DALLA SCULTURA ANTICA NEL ROMANICO BOLOGNESE","created_at":"2017-06-22T03:26:47.968-07:00","url":"https://www.academia.edu/33603015/LA_CROCE_DEL_1143_INTERFERENZE_E_DERIVAZIONI_DALLA_SCULTURA_ANTICA_NEL_ROMANICO_BOLOGNESE?f_ri=8865","dom_id":"work_33603015","summary":"La croce di Santa Maria Maggiore, di pietra aurisina, restaurata e ricomposta nei suoi frammenti da Giovanni Giannelli, direttore tecnico del Laboratorio di Restauro\nOttorino Nonfarmale S.r.l., e collocata su una colonna di pietra gialla ramata di Vicenza, foggiata dal Laboratorio Morseletto, torna ad essere patrimonio archeologico\nvisibile della città di Bologna. 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seria nova", (6) 2018, s. 45-56, ISSN 2545-0832, ISBN 978-83-63189-90-7</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Chrzcielnica w Ośnie Lub. jest dziełem sztuki niezwykle cennym, wykonanym przez wyjątkowo biegłego rzeźbiarza, który potrafił oddać wybitną formą plastyczną skomplikowane treści teologiczne, wyjaśniające znaczenie chrztu w wymiarze... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36805391" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Chrzcielnica w Ośnie Lub. jest dziełem sztuki niezwykle cennym, wykonanym przez wyjątkowo biegłego rzeźbiarza, który potrafił oddać wybitną formą plastyczną skomplikowane treści teologiczne, wyjaśniające znaczenie chrztu w wymiarze religijnym i społecznym. 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$(".js-view-count[data-work-id=36805391]").text(description); $(".js-view-count-work_36805391").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36805391").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36805391"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="41668" href="https://www.academia.edu/Documents/in/Polish_Culture_and_History">Polish Culture and History</a>, <script data-card-contents-for-ri="41668" type="text/json">{"id":41668,"name":"Polish Culture and History","url":"https://www.academia.edu/Documents/in/Polish_Culture_and_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="525743" href="https://www.academia.edu/Documents/in/Renaissance_Sculpture">Renaissance Sculpture</a><script data-card-contents-for-ri="525743" type="text/json">{"id":525743,"name":"Renaissance Sculpture","url":"https://www.academia.edu/Documents/in/Renaissance_Sculpture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36805391]'), work: {"id":36805391,"title":"Renesansowa chrzcielnica w Ośnie Lubuskim, \"Colloquia lubuskie - seria nova\", (6) 2018, s. 45-56, ISSN 2545-0832, ISBN 978-83-63189-90-7","created_at":"2018-06-08T03:20:35.920-07:00","url":"https://www.academia.edu/36805391/Renesansowa_chrzcielnica_w_O%C5%9Bnie_Lubuskim_Colloquia_lubuskie_seria_nova_6_2018_s_45_56_ISSN_2545_0832_ISBN_978_83_63189_90_7?f_ri=8865","dom_id":"work_36805391","summary":"Chrzcielnica w Ośnie Lub. jest dziełem sztuki niezwykle cennym, wykonanym przez wyjątkowo biegłego rzeźbiarza, który potrafił oddać wybitną formą plastyczną skomplikowane treści teologiczne, wyjaśniające znaczenie chrztu w wymiarze religijnym i społecznym. Dotąd pomijana, w najbliższej przyszłości stanie się zapewne przedmiotem zainteresowania wielu badaczy.\r\n","downloadable_attachments":[{"id":56754980,"asset_id":36805391,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":54016935,"first_name":"Bożena","last_name":"Grabowska","domain_name":"independent","page_name":"BożenaGrabowska","display_name":"Bożena Grabowska","profile_url":"https://independent.academia.edu/Bo%C5%BCenaGrabowska?f_ri=8865","photo":"https://0.academia-photos.com/54016935/14294317/15241316/s65_bo_ena.grabowska.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":41668,"name":"Polish Culture and History","url":"https://www.academia.edu/Documents/in/Polish_Culture_and_History?f_ri=8865","nofollow":false},{"id":525743,"name":"Renaissance Sculpture","url":"https://www.academia.edu/Documents/in/Renaissance_Sculpture?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10973891" data-work_id="10973891" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10973891/Le_monde_grec_dans_A_Schnapp_dir_Histoire_de_lart_Flammarion_Pr%C3%A9histoire_et_Antiquit%C3%A9_1997_">Le monde grec, dans A. Schnapp (dir.), Histoire de l'art Flammarion / Préhistoire et Antiquité (1997)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Avec Alexandre Farnoux, Emanuele Greco et Alain Schnapp, j’ai rédigé la partie consacrée au monde grec dans le premier tome d’une histoire générale de l’art, de la préhistoire à nos jours, d’un grand éditeur. On m’a confié dans ce volume... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10973891" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Avec Alexandre Farnoux, Emanuele Greco et Alain Schnapp, j’ai rédigé la partie consacrée au monde grec dans le premier tome d’une histoire générale de l’art, de la préhistoire à nos jours, d’un grand éditeur. On m’a confié dans ce volume tous les chapitres sur la plastique (archaïque, classique et hellénistique), quelques chapitres sur l’architecture classique et la totalité des chapitres sur la période hellénistique. Les contraintes éditoriales et le public visé m’ont donné l’occasion d’exprimer dans une forme contenue et accessible l’approche et la vision de l’art grec que je me suis forgées tant à travers mes travaux de recherche qu’à travers mon enseignement. J’y ai insisté en particulier sur les contraintes techniques et le métier du sculpteur, sur le poids de la tradition et surtout de la convention dans les arts figurés, mais aussi sur les circonstances historiques, religieuses, politiques et sociales qui constituent le cadre, à la fois contraignant et explicatif, des créations de l’art grec. Au-delà de la familiarité trompeuse des formes, leur signification nous échappe en fait la plupart du temps et demande à être « expliquée ».</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10973891" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ca91ccbc3a673532be74a22532d0223" rel="nofollow" data-download="{"attachment_id":36718912,"asset_id":10973891,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36718912/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8363065" href="https://univ-lille.academia.edu/ArthurMULLER">Arthur MULLER</a><script data-card-contents-for-user="8363065" type="text/json">{"id":8363065,"first_name":"Arthur","last_name":"MULLER","domain_name":"univ-lille","page_name":"ArthurMULLER","display_name":"Arthur MULLER","profile_url":"https://univ-lille.academia.edu/ArthurMULLER?f_ri=8865","photo":"https://0.academia-photos.com/8363065/3274316/3881580/s65_arthur.muller.jpg"}</script></span></span></li><li class="js-paper-rank-work_10973891 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10973891"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10973891, container: ".js-paper-rank-work_10973891", }); 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Schnapp (dir.), Histoire de l'art Flammarion / Préhistoire et Antiquité (1997)","created_at":"2015-02-21T05:37:02.294-08:00","url":"https://www.academia.edu/10973891/Le_monde_grec_dans_A_Schnapp_dir_Histoire_de_lart_Flammarion_Pr%C3%A9histoire_et_Antiquit%C3%A9_1997_?f_ri=8865","dom_id":"work_10973891","summary":"Avec Alexandre Farnoux, Emanuele Greco et Alain Schnapp, j’ai rédigé la partie consacrée au monde grec dans le premier tome d’une histoire générale de l’art, de la préhistoire à nos jours, d’un grand éditeur. On m’a confié dans ce volume tous les chapitres sur la plastique (archaïque, classique et hellénistique), quelques chapitres sur l’architecture classique et la totalité des chapitres sur la période hellénistique. Les contraintes éditoriales et le public visé m’ont donné l’occasion d’exprimer dans une forme contenue et accessible l’approche et la vision de l’art grec que je me suis forgées tant à travers mes travaux de recherche qu’à travers mon enseignement. J’y ai insisté en particulier sur les contraintes techniques et le métier du sculpteur, sur le poids de la tradition et surtout de la convention dans les arts figurés, mais aussi sur les circonstances historiques, religieuses, politiques et sociales qui constituent le cadre, à la fois contraignant et explicatif, des créations de l’art grec. Au-delà de la familiarité trompeuse des formes, leur signification nous échappe en fait la plupart du temps et demande à être « expliquée ». ","downloadable_attachments":[{"id":36718912,"asset_id":10973891,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8363065,"first_name":"Arthur","last_name":"MULLER","domain_name":"univ-lille","page_name":"ArthurMULLER","display_name":"Arthur MULLER","profile_url":"https://univ-lille.academia.edu/ArthurMULLER?f_ri=8865","photo":"https://0.academia-photos.com/8363065/3274316/3881580/s65_arthur.muller.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":17618,"name":"Greek Archaeology","url":"https://www.academia.edu/Documents/in/Greek_Archaeology?f_ri=8865","nofollow":false},{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=8865","nofollow":false},{"id":45849,"name":"Archaic Greece","url":"https://www.academia.edu/Documents/in/Archaic_Greece?f_ri=8865"},{"id":61091,"name":"Greek Sculpture","url":"https://www.academia.edu/Documents/in/Greek_Sculpture?f_ri=8865"},{"id":95424,"name":"Greek and Roman Art and Architecture","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_Art_and_Architecture?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44524554" data-work_id="44524554" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44524554/Il_Tempio_dei_Caduti_a_San_Pellegrino_Terme">Il Tempio dei Caduti a San Pellegrino Terme</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44524554" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b07b02ab8734b7600b0a81c351f9d7ef" rel="nofollow" data-download="{"attachment_id":64988998,"asset_id":44524554,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64988998/download_file?st=MTczMjc5NTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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href="https://www.academia.edu/43782646/The_Mature_Richier_the_Young_C%C3%A9sar_Expressionist_Confluences_in_French_Post_War_Sculpture">The Mature Richier; the Young César: Expressionist Confluences in French Post War Sculpture</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43782646" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="32eec140075f9f97afeac34247405de0" rel="nofollow" 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Sculpture, Color, and the Body (1300–Now).","created_at":"2021-06-23T11:19:17.939-07:00","url":"https://www.academia.edu/49351022/Like_Life_Sculpture_Color_and_the_Body_1300_Now_?f_ri=8865","dom_id":"work_49351022","summary":null,"downloadable_attachments":[{"id":67725196,"asset_id":49351022,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12848298,"first_name":"Christina","last_name":"Neilson","domain_name":"oberlin","page_name":"ChristinaNeilson","display_name":"Christina Neilson","profile_url":"https://oberlin.academia.edu/ChristinaNeilson?f_ri=8865","photo":"https://0.academia-photos.com/12848298/3641039/16381390/s65_christina.neilson.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":525743,"name":"Renaissance Sculpture","url":"https://www.academia.edu/Documents/in/Renaissance_Sculpture?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7254115" data-work_id="7254115" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7254115/Sculptors_and_Design_Reform_in_France_1848_to_1895_Sculpture_and_the_Decorative_Arts_Ashgate_2014_">Sculptors and Design Reform in France, 1848 to 1895: Sculpture and the Decorative Arts (Ashgate, 2014)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7254115" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">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.<br />    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.<br />    Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d’art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sévin, Chéret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sèvres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin.<br />    By contesting the false separation of art from industry, Claire Jones’s study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.<br />    Contents: Preface; Introduction: the false separation of fine and decorative sculpture: problems with the Rodin Scholarship for the Study of French Sculpture, 1848-1895; Sculptors and industrial art, 1848-1870; Decorative sculpture and the Third Republic, 1870-1889; Decorative sculpture and the fine arts, 1890-1895; Conclusion: the limits of decorative sculpture; Appendix; Bibliography; Index.<br /><a href="https://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233" rel="nofollow">https://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233</a><br /><br />For reviews, including in the Sculpture Journal, Design History Society, Decorative Arts Society journal, see <a href="https://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233" rel="nofollow">https://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7254115" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="acff59195d1cc61c40e49442c450d1bc" rel="nofollow" data-download="{"attachment_id":48252717,"asset_id":7254115,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48252717/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="156038" href="https://bham.academia.edu/ClaireJones">Claire Jones</a><script data-card-contents-for-user="156038" type="text/json">{"id":156038,"first_name":"Claire","last_name":"Jones","domain_name":"bham","page_name":"ClaireJones","display_name":"Claire Jones","profile_url":"https://bham.academia.edu/ClaireJones?f_ri=8865","photo":"https://0.academia-photos.com/156038/40473/37196/s65_claire.jones.jpg"}</script></span></span></li><li class="js-paper-rank-work_7254115 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7254115"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7254115, container: ".js-paper-rank-work_7254115", }); 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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.\n Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d’art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sévin, Chéret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sèvres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin.\n By contesting the false separation of art from industry, Claire Jones’s study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.\n Contents: Preface; Introduction: the false separation of fine and decorative sculpture: problems with the Rodin Scholarship for the Study of French Sculpture, 1848-1895; Sculptors and industrial art, 1848-1870; Decorative sculpture and the Third Republic, 1870-1889; Decorative sculpture and the fine arts, 1890-1895; Conclusion: the limits of decorative sculpture; Appendix; Bibliography; Index.\nhttps://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233\n\nFor reviews, including in the Sculpture Journal, Design History Society, Decorative Arts Society journal, see https://www.routledge.com/Sculptors-and-Design-Reform-in-France-1848-to-1895-Sculpture-and-the/Jones/p/book/9781472415233","downloadable_attachments":[{"id":48252717,"asset_id":7254115,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":156038,"first_name":"Claire","last_name":"Jones","domain_name":"bham","page_name":"ClaireJones","display_name":"Claire Jones","profile_url":"https://bham.academia.edu/ClaireJones?f_ri=8865","photo":"https://0.academia-photos.com/156038/40473/37196/s65_claire.jones.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":10109,"name":"19th century France","url":"https://www.academia.edu/Documents/in/19th_century_France?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":14985,"name":"Decorative Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=8865","nofollow":false},{"id":19029,"name":"History of Design","url":"https://www.academia.edu/Documents/in/History_of_Design?f_ri=8865"},{"id":460196,"name":"International Exhibitions","url":"https://www.academia.edu/Documents/in/International_Exhibitions?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44378566" data-work_id="44378566" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44378566/Review_of_The_History_of_Venetian_Renaissance_Sculpture_c_1400_1530_By_A_Markham_Schulz">Review of The History of Venetian Renaissance Sculpture (c. 1400-1530). By A. Markham Schulz</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44378566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3fa816ddf77dd9cd1cddc616daa9538b" rel="nofollow" data-download="{"attachment_id":64780159,"asset_id":44378566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64780159/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1465411" href="https://unipi.academia.edu/LucaPalozzi">Luca Palozzi</a><script data-card-contents-for-user="1465411" type="text/json">{"id":1465411,"first_name":"Luca","last_name":"Palozzi","domain_name":"unipi","page_name":"LucaPalozzi","display_name":"Luca Palozzi","profile_url":"https://unipi.academia.edu/LucaPalozzi?f_ri=8865","photo":"https://0.academia-photos.com/1465411/523542/74034184/s65_luca.palozzi.jpg"}</script></span></span></li><li class="js-paper-rank-work_44378566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44378566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44378566, container: ".js-paper-rank-work_44378566", }); 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By A. Markham Schulz","created_at":"2020-10-27T02:17:42.176-07:00","url":"https://www.academia.edu/44378566/Review_of_The_History_of_Venetian_Renaissance_Sculpture_c_1400_1530_By_A_Markham_Schulz?f_ri=8865","dom_id":"work_44378566","summary":null,"downloadable_attachments":[{"id":64780159,"asset_id":44378566,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1465411,"first_name":"Luca","last_name":"Palozzi","domain_name":"unipi","page_name":"LucaPalozzi","display_name":"Luca Palozzi","profile_url":"https://unipi.academia.edu/LucaPalozzi?f_ri=8865","photo":"https://0.academia-photos.com/1465411/523542/74034184/s65_luca.palozzi.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":12132,"name":"Venetian art and architectural history","url":"https://www.academia.edu/Documents/in/Venetian_art_and_architectural_history?f_ri=8865","nofollow":false},{"id":12133,"name":"Venetian History","url":"https://www.academia.edu/Documents/in/Venetian_History?f_ri=8865"},{"id":21144,"name":"Women Artists","url":"https://www.academia.edu/Documents/in/Women_Artists?f_ri=8865"},{"id":48660,"name":"Medieval Sculpture (XIII-XVth Century)","url":"https://www.academia.edu/Documents/in/Medieval_Sculpture_XIII-XVth_Century_?f_ri=8865"},{"id":96218,"name":"Venetian Renaissance art","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_art?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35692115" data-work_id="35692115" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35692115/Modeling_Modernity_Instruction_Books_and_the_History_of_Modern_Sculpture">Modeling Modernity: Instruction Books and the History of Modern Sculpture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Visual Resources, January 2018. Full article available at ttp://<a href="http://www.tandfonline.com/eprint/WsvYhf7TtQf9ERm6zapt/full" rel="nofollow">www.tandfonline.com/eprint/WsvYhf7TtQf9ERm6zapt/full</a> What did modern sculpture entail in the early twentieth century? Scholarship has consistently identified... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35692115" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Visual Resources, January 2018. <br /> <br />Full article available at <br />ttp://<a href="http://www.tandfonline.com/eprint/WsvYhf7TtQf9ERm6zapt/full" rel="nofollow">www.tandfonline.com/eprint/WsvYhf7TtQf9ERm6zapt/full</a> <br /> <br />What did modern sculpture entail in the early twentieth century? Scholarship has consistently identified sculpture's modernity with the adoption of direct carving and the rejection of clay modeling, but this article challenges such a dichotomy by examining three instruction books on sculpture published in Britain in the early twentieth century. The books are characteristic of a genre of technical writing that promotes clay modeling as the foundation of sculpture. Although significant numbers of instruction books were published in the period, they have been little-studied because of their didactic nature; yet in their emphasis on modeling techniques, they can be approached as useful sources. My argument is driven by two considerations: that the instruction books were written by successful sculptors; and that they highlight the persistence of long-standing sculptural practices that have been excluded from standard narratives. Given the preponderance of direct carving in conceptions of modern sculpture, these books offer a counter-narrative of modernity that can revise, or at least nuance, prevailing conceptions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35692115" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="947703e2434d01dcb9fdfc7a5125c7aa" rel="nofollow" data-download="{"attachment_id":55563372,"asset_id":35692115,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55563372/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25676605" href="https://yale.academia.edu/MartinaDroth">Martina Droth</a><script data-card-contents-for-user="25676605" type="text/json">{"id":25676605,"first_name":"Martina","last_name":"Droth","domain_name":"yale","page_name":"MartinaDroth","display_name":"Martina Droth","profile_url":"https://yale.academia.edu/MartinaDroth?f_ri=8865","photo":"https://0.academia-photos.com/25676605/7015293/38655517/s65_martina.droth.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35692115 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35692115"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35692115, container: ".js-paper-rank-work_35692115", }); 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$(".js-view-count[data-work-id=35692115]").text(description); $(".js-view-count-work_35692115").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35692115").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35692115"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a><script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35692115]'), work: {"id":35692115,"title":"Modeling Modernity: Instruction Books and the History of Modern Sculpture","created_at":"2018-01-17T05:58:24.484-08:00","url":"https://www.academia.edu/35692115/Modeling_Modernity_Instruction_Books_and_the_History_of_Modern_Sculpture?f_ri=8865","dom_id":"work_35692115","summary":"Visual Resources, January 2018.\r\n\r\nFull article available at \r\nttp://www.tandfonline.com/eprint/WsvYhf7TtQf9ERm6zapt/full \r\n\r\nWhat did modern sculpture entail in the early twentieth century? Scholarship has consistently identified sculpture's modernity with the adoption of direct carving and the rejection of clay modeling, but this article challenges such a dichotomy by examining three instruction books on sculpture published in Britain in the early twentieth century. The books are characteristic of a genre of technical writing that promotes clay modeling as the foundation of sculpture. Although significant numbers of instruction books were published in the period, they have been little-studied because of their didactic nature; yet in their emphasis on modeling techniques, they can be approached as useful sources. My argument is driven by two considerations: that the instruction books were written by successful sculptors; and that they highlight the persistence of long-standing sculptural practices that have been excluded from standard narratives. Given the preponderance of direct carving in conceptions of modern sculpture, these books offer a counter-narrative of modernity that can revise, or at least nuance, prevailing conceptions.","downloadable_attachments":[{"id":55563372,"asset_id":35692115,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25676605,"first_name":"Martina","last_name":"Droth","domain_name":"yale","page_name":"MartinaDroth","display_name":"Martina Droth","profile_url":"https://yale.academia.edu/MartinaDroth?f_ri=8865","photo":"https://0.academia-photos.com/25676605/7015293/38655517/s65_martina.droth.jpeg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8865","nofollow":false},{"id":22453,"name":"Materiality of Art","url":"https://www.academia.edu/Documents/in/Materiality_of_Art?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3631012" data-work_id="3631012" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3631012/Una_tra%C3%A7a_in%C3%A8dita_de_Pere_Costa_per_a_Santa_Coloma_de_Queralt_contribuci%C3%B3_al_cat%C3%A0leg_de_lautor">Una traça inèdita de Pere Costa per a Santa Coloma de Queralt: contribució al catàleg de l'autor</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En este estudio se presenta un dibujo inedito de Pere Costa, conservado hoy en una coleccion particular. Se trata del proyecto de un retablo para el altar mayor de la iglesia parroquial de Santa Coloma de Queralt (Conca de Barbera,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3631012" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En este estudio se presenta un dibujo inedito de Pere Costa, conservado hoy en una coleccion particular. Se trata del proyecto de un retablo para el altar mayor de la iglesia parroquial de Santa Coloma de Queralt (Conca de Barbera, Tarragona), como indica una inscripcion autografa al pie del mismo. El analisis estructural, iconografico y heraldico del retablo fingido, que permite fijar su realizacion hacia 1745, va acompanado de reflexiones de caracter tipologico en funcion del espacio y de las necesidades cultuales que la obra tenia que satisfacer, en el caso de haberse construido.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3631012" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2a55e4e1669b3297fc813681a3b996e8" rel="nofollow" data-download="{"attachment_id":31323520,"asset_id":3631012,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31323520/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4375022" href="https://ub.academia.edu/silviaCanalda">Sílvia Canalda Llobet</a><script data-card-contents-for-user="4375022" type="text/json">{"id":4375022,"first_name":"Sílvia","last_name":"Canalda Llobet","domain_name":"ub","page_name":"silviaCanalda","display_name":"Sílvia Canalda Llobet","profile_url":"https://ub.academia.edu/silviaCanalda?f_ri=8865","photo":"https://0.academia-photos.com/4375022/15448318/16069124/s65_s_lvia.canalda_i_llobet.jpg"}</script></span></span></li><li class="js-paper-rank-work_3631012 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3631012"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3631012, container: ".js-paper-rank-work_3631012", }); 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$(".js-view-count[data-work-id=3631012]").text(description); $(".js-view-count-work_3631012").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3631012").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3631012"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22405" href="https://www.academia.edu/Documents/in/Baroque_art_and_architecture">Baroque art and architecture</a>, <script data-card-contents-for-ri="22405" type="text/json">{"id":22405,"name":"Baroque art and architecture","url":"https://www.academia.edu/Documents/in/Baroque_art_and_architecture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="41194" href="https://www.academia.edu/Documents/in/Old_Master_drawings">Old Master drawings</a><script data-card-contents-for-ri="41194" type="text/json">{"id":41194,"name":"Old Master drawings","url":"https://www.academia.edu/Documents/in/Old_Master_drawings?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3631012]'), work: {"id":3631012,"title":"Una traça inèdita de Pere Costa per a Santa Coloma de Queralt: contribució al catàleg de l'autor","created_at":"2013-05-30T06:16:26.731-07:00","url":"https://www.academia.edu/3631012/Una_tra%C3%A7a_in%C3%A8dita_de_Pere_Costa_per_a_Santa_Coloma_de_Queralt_contribuci%C3%B3_al_cat%C3%A0leg_de_lautor?f_ri=8865","dom_id":"work_3631012","summary":"En este estudio se presenta un dibujo inedito de Pere Costa, conservado hoy en una coleccion particular. Se trata del proyecto de un retablo para el altar mayor de la iglesia parroquial de Santa Coloma de Queralt (Conca de Barbera, Tarragona), como indica una inscripcion autografa al pie del mismo. El analisis estructural, iconografico y heraldico del retablo fingido, que permite fijar su realizacion hacia 1745, va acompanado de reflexiones de caracter tipologico en funcion del espacio y de las necesidades cultuales que la obra tenia que satisfacer, en el caso de haberse construido.","downloadable_attachments":[{"id":31323520,"asset_id":3631012,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4375022,"first_name":"Sílvia","last_name":"Canalda Llobet","domain_name":"ub","page_name":"silviaCanalda","display_name":"Sílvia Canalda Llobet","profile_url":"https://ub.academia.edu/silviaCanalda?f_ri=8865","photo":"https://0.academia-photos.com/4375022/15448318/16069124/s65_s_lvia.canalda_i_llobet.jpg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":22405,"name":"Baroque art and architecture","url":"https://www.academia.edu/Documents/in/Baroque_art_and_architecture?f_ri=8865","nofollow":false},{"id":41194,"name":"Old Master drawings","url":"https://www.academia.edu/Documents/in/Old_Master_drawings?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42077101" data-work_id="42077101" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42077101/Der_Arkadenhof_im_Hauptgeb%C3%A4ude_der_Universit%C3%A4t_Wien_Ruhmeshalle_Geschichtsgalerie_oder_Campo_Santo">Der Arkadenhof im Hauptgebäude der Universität Wien: Ruhmeshalle, Geschichtsgalerie oder Campo Santo?</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42077101" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="afea34836ea52fee483ce473d66a93f5" rel="nofollow" data-download="{"attachment_id":62205248,"asset_id":42077101,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62205248/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25768706" href="https://univie.academia.edu/IngeborgSchemper">Ingeborg Schemper-Sparholz</a><script data-card-contents-for-user="25768706" type="text/json">{"id":25768706,"first_name":"Ingeborg","last_name":"Schemper-Sparholz","domain_name":"univie","page_name":"IngeborgSchemper","display_name":"Ingeborg Schemper-Sparholz","profile_url":"https://univie.academia.edu/IngeborgSchemper?f_ri=8865","photo":"https://0.academia-photos.com/25768706/18637125/18598981/s65_ingeborg.schemper.jpg"}</script></span></span></li><li class="js-paper-rank-work_42077101 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42077101"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42077101, container: ".js-paper-rank-work_42077101", }); });</script></li><li class="js-percentile-work_42077101 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42077101; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_42077101"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_42077101 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="42077101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42077101; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42077101]").text(description); $(".js-view-count-work_42077101").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42077101").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42077101"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="107368" href="https://www.academia.edu/Documents/in/Vienna">Vienna</a><script data-card-contents-for-ri="107368" type="text/json">{"id":107368,"name":"Vienna","url":"https://www.academia.edu/Documents/in/Vienna?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42077101]'), work: {"id":42077101,"title":"Der Arkadenhof im Hauptgebäude der Universität Wien: Ruhmeshalle, Geschichtsgalerie oder Campo Santo?","created_at":"2020-02-26T08:26:02.940-08:00","url":"https://www.academia.edu/42077101/Der_Arkadenhof_im_Hauptgeb%C3%A4ude_der_Universit%C3%A4t_Wien_Ruhmeshalle_Geschichtsgalerie_oder_Campo_Santo?f_ri=8865","dom_id":"work_42077101","summary":null,"downloadable_attachments":[{"id":62205248,"asset_id":42077101,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25768706,"first_name":"Ingeborg","last_name":"Schemper-Sparholz","domain_name":"univie","page_name":"IngeborgSchemper","display_name":"Ingeborg Schemper-Sparholz","profile_url":"https://univie.academia.edu/IngeborgSchemper?f_ri=8865","photo":"https://0.academia-photos.com/25768706/18637125/18598981/s65_ingeborg.schemper.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":107368,"name":"Vienna","url":"https://www.academia.edu/Documents/in/Vienna?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43061519" data-work_id="43061519" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43061519/Aphrodite_and_The_Walking_Man_of_Auguste_Rodin">Aphrodite and The Walking Man of Auguste Rodin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The balance in an artistic creation between opposing forces of originality and reproduction, between the unique work of art of an artist and the foundry produced versions, has long been regarded as a crucial problem. More than a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43061519" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The balance in an artistic creation between opposing forces of originality and reproduction, between the unique work of art of an artist and the foundry produced versions, has long been regarded as a crucial problem. More than a differentiation of the tradition-laden past, creative originality may be conceived as a literal origin, a birth. The artist self as origin is the way an absolute distinction can be made between a present experienced de novo and a past. The purpose of the analysis of the statues of “Aphrodite” and the torso of the “The Walking Man” is to understand the relationship established by Rodin between the original and the copy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43061519" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f3c517adf919e2999c6a5bedb4d45187" rel="nofollow" data-download="{"attachment_id":63547423,"asset_id":43061519,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63547423/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="129843" href="https://independent.academia.edu/pfpuech">Pierre-François Puech</a><script data-card-contents-for-user="129843" type="text/json">{"id":129843,"first_name":"Pierre-François","last_name":"Puech","domain_name":"independent","page_name":"pfpuech","display_name":"Pierre-François Puech","profile_url":"https://independent.academia.edu/pfpuech?f_ri=8865","photo":"https://0.academia-photos.com/129843/34608/31794/s65_pierre-fran_ois.puech.jpg"}</script></span></span></li><li class="js-paper-rank-work_43061519 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43061519"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43061519, container: ".js-paper-rank-work_43061519", }); });</script></li><li class="js-percentile-work_43061519 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43061519; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43061519"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43061519 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43061519"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43061519; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43061519]").text(description); $(".js-view-count-work_43061519").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43061519").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43061519"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="392" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6177" href="https://www.academia.edu/Documents/in/Modeling">Modeling</a>, <script data-card-contents-for-ri="6177" type="text/json">{"id":6177,"name":"Modeling","url":"https://www.academia.edu/Documents/in/Modeling?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a><script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43061519]'), work: {"id":43061519,"title":"Aphrodite and The Walking Man of Auguste Rodin","created_at":"2020-05-15T09:07:34.841-07:00","url":"https://www.academia.edu/43061519/Aphrodite_and_The_Walking_Man_of_Auguste_Rodin?f_ri=8865","dom_id":"work_43061519","summary":"The balance in an artistic creation between opposing forces of originality and reproduction, between the unique work of art of an artist and the foundry produced versions, has long been regarded as a crucial problem. More than a differentiation of the tradition-laden past, creative originality may be conceived as a literal origin, a birth. The artist self as origin is the way an absolute distinction can be made between a present experienced de novo and a past. The purpose of the analysis of the statues of “Aphrodite” and the torso of the “The Walking Man” is to understand the relationship established by Rodin between the original and the copy.","downloadable_attachments":[{"id":63547423,"asset_id":43061519,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":129843,"first_name":"Pierre-François","last_name":"Puech","domain_name":"independent","page_name":"pfpuech","display_name":"Pierre-François Puech","profile_url":"https://independent.academia.edu/pfpuech?f_ri=8865","photo":"https://0.academia-photos.com/129843/34608/31794/s65_pierre-fran_ois.puech.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=8865","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":6177,"name":"Modeling","url":"https://www.academia.edu/Documents/in/Modeling?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=8865"},{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=8865"},{"id":86120,"name":"Exhibitions","url":"https://www.academia.edu/Documents/in/Exhibitions?f_ri=8865"},{"id":260497,"name":"Inspiration","url":"https://www.academia.edu/Documents/in/Inspiration?f_ri=8865"},{"id":481786,"name":"Auguste Rodin","url":"https://www.academia.edu/Documents/in/Auguste_Rodin?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14486958" data-work_id="14486958" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14486958/The_Sculptor_as_Archivist_Interpreting_Barbara_Hepworth_s_Legacy">The Sculptor as Archivist: Interpreting Barbara Hepworth’s Legacy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">‘I saw Barbara last night and as ever she is worried about the question of her archives.’ Hepworth was a sculptor concerned with her legacy, and, as such, was also concerned with her archive. She wrote to Tate in 1965 asking whether they... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14486958" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">‘I saw Barbara last night and as ever she is worried about the question of her archives.’  Hepworth was a sculptor concerned with her legacy, and, as such, was also concerned with her archive. She wrote to Tate in 1965 asking whether they had archives,  and in 1969 was trying to encourage those whom she saw as her important contemporaries – Naum Gabo, Henry Moore, Ben Nicholson – to deposit their archives with Tate alongside hers, troubled by the fact that Herbert Read had sold his archive to Canada.  This archival impulse also manifested itself in her Pictorial Autobiography, published in 1970, about which she wrote that its ‘main use, in photographing all original documents, was to put beyond dispute certain dates’, which ‘have been much altered’ by writers on Moore.  <br /><br />For a person suffering from cancer and other frailties during the late 1960s, who did not ‘expect to live for more than a week at a time’,  Hepworth’s concern with her legacy is perhaps unsurprising. However, in a belief in locating legacy in the document, this archival thinking at once enshrines the document as monument and suggests an anxiety that her legacy might persist through other means. In this article, I will explore the intersection of alternative archival modes that Hepworth was involved with – of sculptural process, preservation and repurposing – that also allow for an active and critical engagement with her legacy today. <br /><br />Helena Bonett, ‘The Sculptor as Archivist: Interpreting Barbara Hepworth’s Legacy’, <br />Henry Moore Institute Essays on Sculpture, issue 73, 2015, 26–31</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14486958" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5b15e16064264f2454386f5047714f13" rel="nofollow" data-download="{"attachment_id":65987736,"asset_id":14486958,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65987736/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5094849" href="https://kingston.academia.edu/HelenaBonett">Helena Bonett</a><script data-card-contents-for-user="5094849" type="text/json">{"id":5094849,"first_name":"Helena","last_name":"Bonett","domain_name":"kingston","page_name":"HelenaBonett","display_name":"Helena Bonett","profile_url":"https://kingston.academia.edu/HelenaBonett?f_ri=8865","photo":"https://0.academia-photos.com/5094849/2227738/20995001/s65_helena.bonett.jpg"}</script></span></span></li><li class="js-paper-rank-work_14486958 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14486958"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14486958, container: ".js-paper-rank-work_14486958", }); 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She wrote to Tate in 1965 asking whether they had archives, and in 1969 was trying to encourage those whom she saw as her important contemporaries – Naum Gabo, Henry Moore, Ben Nicholson – to deposit their archives with Tate alongside hers, troubled by the fact that Herbert Read had sold his archive to Canada. This archival impulse also manifested itself in her Pictorial Autobiography, published in 1970, about which she wrote that its ‘main use, in photographing all original documents, was to put beyond dispute certain dates’, which ‘have been much altered’ by writers on Moore. \n\nFor a person suffering from cancer and other frailties during the late 1960s, who did not ‘expect to live for more than a week at a time’, Hepworth’s concern with her legacy is perhaps unsurprising. However, in a belief in locating legacy in the document, this archival thinking at once enshrines the document as monument and suggests an anxiety that her legacy might persist through other means. In this article, I will explore the intersection of alternative archival modes that Hepworth was involved with – of sculptural process, preservation and repurposing – that also allow for an active and critical engagement with her legacy today. \n\nHelena Bonett, ‘The Sculptor as Archivist: Interpreting Barbara Hepworth’s Legacy’, \nHenry Moore Institute Essays on Sculpture, issue 73, 2015, 26–31","downloadable_attachments":[{"id":65987736,"asset_id":14486958,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5094849,"first_name":"Helena","last_name":"Bonett","domain_name":"kingston","page_name":"HelenaBonett","display_name":"Helena Bonett","profile_url":"https://kingston.academia.edu/HelenaBonett?f_ri=8865","photo":"https://0.academia-photos.com/5094849/2227738/20995001/s65_helena.bonett.jpg"}],"research_interests":[{"id":5089,"name":"Art Studio","url":"https://www.academia.edu/Documents/in/Art_Studio?f_ri=8865","nofollow":false},{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=8865"},{"id":16392,"name":"Studio Practice","url":"https://www.academia.edu/Documents/in/Studio_Practice?f_ri=8865"},{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=8865"},{"id":563362,"name":"Studio Art","url":"https://www.academia.edu/Documents/in/Studio_Art?f_ri=8865"},{"id":760162,"name":"Barbara Hepworth","url":"https://www.academia.edu/Documents/in/Barbara_Hepworth?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11750421" data-work_id="11750421" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11750421/Micha%C5%82_Wardzy%C5%84ski_Hubert_Kowalski_i_Piotr_Jamski_Lapidarium_warszawskie_Szlachetne_materia%C5%82y_kamieniarskie_w_XVI_i_XVII_wieku_The_Warsaw_Lapidarium_Precious_Materials_of_Stonemasonry_and_Sculpture_in_the_16th_and_17th_Centuries_Warszawa_2013_ISBN_978_83_937739_1_6_978_83_62189_31_1_CIP_BN">Michał Wardzyński, Hubert Kowalski i Piotr Jamski, Lapidarium warszawskie. Szlachetne materiały kamieniarskie w XVI i XVII wieku / The Warsaw Lapidarium. Precious Materials of Stonemasonry and Sculpture in the 16th and 17th Centuries, Warszawa 2013. ISBN: 978-83-937739-1-6, 978-83-62189-31-1, CIP BN</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11750421" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4ea7ae80a88b4d356f7eec4bd3fd8f55" rel="nofollow" data-download="{"attachment_id":42898445,"asset_id":11750421,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42898445/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7082811" href="https://uw.academia.edu/Micha%C5%82Wardzy%C5%84ski">Michał Wardzyński PhD</a><script data-card-contents-for-user="7082811" type="text/json">{"id":7082811,"first_name":"Michał","last_name":"Wardzyński PhD","domain_name":"uw","page_name":"MichałWardzyński","display_name":"Michał Wardzyński PhD","profile_url":"https://uw.academia.edu/Micha%C5%82Wardzy%C5%84ski?f_ri=8865","photo":"https://0.academia-photos.com/7082811/4125606/6756035/s65_micha_.wardzy_ski.jpg"}</script></span></span></li><li class="js-paper-rank-work_11750421 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11750421"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11750421, container: ".js-paper-rank-work_11750421", }); 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Szlachetne materiały kamieniarskie w XVI i XVII wieku / The Warsaw Lapidarium. Precious Materials of Stonemasonry and Sculpture in the 16th and 17th Centuries, Warszawa 2013. ISBN: 978-83-937739-1-6, 978-83-62189-31-1, CIP BN","created_at":"2015-04-01T01:16:57.988-07:00","url":"https://www.academia.edu/11750421/Micha%C5%82_Wardzy%C5%84ski_Hubert_Kowalski_i_Piotr_Jamski_Lapidarium_warszawskie_Szlachetne_materia%C5%82y_kamieniarskie_w_XVI_i_XVII_wieku_The_Warsaw_Lapidarium_Precious_Materials_of_Stonemasonry_and_Sculpture_in_the_16th_and_17th_Centuries_Warszawa_2013_ISBN_978_83_937739_1_6_978_83_62189_31_1_CIP_BN?f_ri=8865","dom_id":"work_11750421","summary":null,"downloadable_attachments":[{"id":42898445,"asset_id":11750421,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7082811,"first_name":"Michał","last_name":"Wardzyński PhD","domain_name":"uw","page_name":"MichałWardzyński","display_name":"Michał Wardzyński PhD","profile_url":"https://uw.academia.edu/Micha%C5%82Wardzy%C5%84ski?f_ri=8865","photo":"https://0.academia-photos.com/7082811/4125606/6756035/s65_micha_.wardzy_ski.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=8865","nofollow":false},{"id":22405,"name":"Baroque art and architecture","url":"https://www.academia.edu/Documents/in/Baroque_art_and_architecture?f_ri=8865"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=8865"},{"id":93692,"name":"Warsaw","url":"https://www.academia.edu/Documents/in/Warsaw?f_ri=8865"},{"id":116928,"name":"Carrara Marble","url":"https://www.academia.edu/Documents/in/Carrara_Marble?f_ri=8865"},{"id":154259,"name":"Marble Provenance","url":"https://www.academia.edu/Documents/in/Marble_Provenance?f_ri=8865"},{"id":159686,"name":"16th and 17th century Dutch and Flemish Art","url":"https://www.academia.edu/Documents/in/16th_and_17th_century_Dutch_and_Flemish_Art?f_ri=8865"},{"id":219139,"name":"The Use of Marble and Other Stones","url":"https://www.academia.edu/Documents/in/The_Use_of_Marble_and_Other_Stones?f_ri=8865"},{"id":334858,"name":"Sandstones","url":"https://www.academia.edu/Documents/in/Sandstones?f_ri=8865"},{"id":353365,"name":"Marble","url":"https://www.academia.edu/Documents/in/Marble?f_ri=8865"},{"id":729982,"name":"Alabaster Sculpture","url":"https://www.academia.edu/Documents/in/Alabaster_Sculpture?f_ri=8865"},{"id":1077293,"name":"Northern European Sculpture 1330-1550; Alabaster","url":"https://www.academia.edu/Documents/in/Northern_European_Sculpture_1330-1550_Alabaster?f_ri=8865"},{"id":1209488,"name":"English Alabasters","url":"https://www.academia.edu/Documents/in/English_Alabasters?f_ri=8865"},{"id":1409484,"name":"Limestone Mining","url":"https://www.academia.edu/Documents/in/Limestone_Mining?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37860705" data-work_id="37860705" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37860705/_La_v%C3%A9rit%C3%A9_sur_latelier_Carpeaux_%C3%A0_Auteuil_demeure_de_Jean_Baptiste_Carpeaux_et_de_sa_famille">« La vérité » sur l'atelier Carpeaux à Auteuil, demeure de Jean-Baptiste Carpeaux et de sa famille</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">« La vérité » sur l'atelier de Jean-Baptiste Carpeaux publiée dans Les Cahiers d'Histoire de l'art numéro 15. Étude sur l'histoire, l'architecture et la destinée de l'atelier du sculpteur Jean-Baptiste Carpeaux à Auteuil au XIXe et XXe... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37860705" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">« La vérité » sur l'atelier de Jean-Baptiste Carpeaux publiée dans Les Cahiers d'Histoire de l'art numéro 15. <br />Étude sur l'histoire, l'architecture et la destinée de l'atelier du sculpteur Jean-Baptiste Carpeaux à Auteuil au XIXe et XXe siècle avec notamment son agrandissement par Hector Guimard. Les personnalités complexes de sa femme, Amélie de Montfort et de ses enfants, Charles, Louis et Louise Carpeaux sont aussi abordées afin de comprendre le rôle qu'ils ont joué dans le travail mémoriel de leur mari et père. <br /> <br />The truth about the workshop of Jean-Baptiste Carpeaux published in Cahiers d'Histoire de l'art number 15. <br />Study on the history, architecture and destiny of the sculptor Jean-Baptiste Carpeaux's workshop in Auteuil in the 19th and 20th centuries, notably with his expansion by Hector Guimard. The complex personalities of his wife, Amélie de Montfort and his children, Charles, Louis and Louise Carpeaux are also discussed to understand the role they played in the memorial work of their husband and father.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37860705" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7c2df436aa266e26c8ba203c1775a02f" rel="nofollow" data-download="{"attachment_id":57865821,"asset_id":37860705,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57865821/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="44292749" href="https://univ-paris1.academia.edu/BrunoMontamat">Bruno Montamat</a><script data-card-contents-for-user="44292749" type="text/json">{"id":44292749,"first_name":"Bruno","last_name":"Montamat","domain_name":"univ-paris1","page_name":"BrunoMontamat","display_name":"Bruno Montamat","profile_url":"https://univ-paris1.academia.edu/BrunoMontamat?f_ri=8865","photo":"https://0.academia-photos.com/44292749/27039560/27522326/s65_bruno.montamat.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37860705 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37860705"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37860705, container: ".js-paper-rank-work_37860705", }); 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$(".js-view-count[data-work-id=37860705]").text(description); $(".js-view-count-work_37860705").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37860705").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37860705"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a>, <script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="120344" href="https://www.academia.edu/Documents/in/Siglo_XIX">Siglo XIX</a>, <script data-card-contents-for-ri="120344" type="text/json">{"id":120344,"name":"Siglo XIX","url":"https://www.academia.edu/Documents/in/Siglo_XIX?f_ri=8865","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2444969" href="https://www.academia.edu/Documents/in/Jean-Baptiste_Carpeaux">Jean-Baptiste Carpeaux</a><script data-card-contents-for-ri="2444969" type="text/json">{"id":2444969,"name":"Jean-Baptiste Carpeaux","url":"https://www.academia.edu/Documents/in/Jean-Baptiste_Carpeaux?f_ri=8865","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37860705]'), work: {"id":37860705,"title":"« La vérité » sur l'atelier Carpeaux à Auteuil, demeure de Jean-Baptiste Carpeaux et de sa famille","created_at":"2018-11-27T05:27:53.528-08:00","url":"https://www.academia.edu/37860705/_La_v%C3%A9rit%C3%A9_sur_latelier_Carpeaux_%C3%A0_Auteuil_demeure_de_Jean_Baptiste_Carpeaux_et_de_sa_famille?f_ri=8865","dom_id":"work_37860705","summary":"« La vérité » sur l'atelier de Jean-Baptiste Carpeaux publiée dans Les Cahiers d'Histoire de l'art numéro 15. \r\nÉtude sur l'histoire, l'architecture et la destinée de l'atelier du sculpteur Jean-Baptiste Carpeaux à Auteuil au XIXe et XXe siècle avec notamment son agrandissement par Hector Guimard. Les personnalités complexes de sa femme, Amélie de Montfort et de ses enfants, Charles, Louis et Louise Carpeaux sont aussi abordées afin de comprendre le rôle qu'ils ont joué dans le travail mémoriel de leur mari et père.\r\n\r\nThe truth about the workshop of Jean-Baptiste Carpeaux published in Cahiers d'Histoire de l'art number 15.\r\nStudy on the history, architecture and destiny of the sculptor Jean-Baptiste Carpeaux's workshop in Auteuil in the 19th and 20th centuries, notably with his expansion by Hector Guimard. The complex personalities of his wife, Amélie de Montfort and his children, Charles, Louis and Louise Carpeaux are also discussed to understand the role they played in the memorial work of their husband and father.","downloadable_attachments":[{"id":57865821,"asset_id":37860705,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":44292749,"first_name":"Bruno","last_name":"Montamat","domain_name":"univ-paris1","page_name":"BrunoMontamat","display_name":"Bruno Montamat","profile_url":"https://univ-paris1.academia.edu/BrunoMontamat?f_ri=8865","photo":"https://0.academia-photos.com/44292749/27039560/27522326/s65_bruno.montamat.jpeg"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":120344,"name":"Siglo XIX","url":"https://www.academia.edu/Documents/in/Siglo_XIX?f_ri=8865","nofollow":false},{"id":2444969,"name":"Jean-Baptiste Carpeaux","url":"https://www.academia.edu/Documents/in/Jean-Baptiste_Carpeaux?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37345130" data-work_id="37345130" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37345130/Art_review_of_Gordon_Matta_Clark_Anarchitect">Art review of Gordon Matta-Clark: Anarchitect</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Art review of Gordon Matta-Clark: Anarchitect at the Jeu de Paume Paris</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item 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Paris","downloadable_attachments":[{"id":57305666,"asset_id":37345130,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":369618,"first_name":"Joseph","last_name":"Nechvatal","domain_name":"sva","page_name":"JosephNechvatal","display_name":"Joseph Nechvatal","profile_url":"https://sva.academia.edu/JosephNechvatal?f_ri=8865","photo":"https://0.academia-photos.com/369618/96400/12674747/s65_joseph.nechvatal.jpg"}],"research_interests":[{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=8865","nofollow":false},{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=8865","nofollow":false},{"id":17146,"name":"Urban interventions (Architecture)","url":"https://www.academia.edu/Documents/in/Urban_interventions_Architecture_?f_ri=8865","nofollow":false},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=8865"},{"id":135343,"name":"Anarchitecture","url":"https://www.academia.edu/Documents/in/Anarchitecture?f_ri=8865"},{"id":470768,"name":"Gordon Matta- Clark","url":"https://www.academia.edu/Documents/in/Gordon_Matta-_Clark?f_ri=8865"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43782341" data-work_id="43782341" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43782341/Socha%C5%99stv%C3%AD">Sochařství</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41347120" data-work_id="41347120" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41347120/_De_la_dr%C3%B4lerie_en_histoire_de_l_art_notes_en_marge_des_cires_de_Degas_in_La_sculpture_au_XIXe_si%C3%A8cle_M%C3%A9langes_pour_Anne_Pingeot_sous_la_dir_de_C_Chevillot_Paris_Nicolas_Chaudun_2008_p_220_227">« De la drôlerie en histoire de l’art : notes en marge des cires de Degas », in : La sculpture au XIXe siècle. Mélanges pour Anne Pingeot, sous la dir. de C. Chevillot, Paris, Nicolas Chaudun, 2008, p. 220-227.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’isolement qui a précédé le décès de Degas en 1917 rendit d’autant plus éblouissante la découverte des nombreuses statuettes en cire qui furent reproduites peu après par Hébrard. A une époque où l’Impressionnisme faisait l’objet de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41347120" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’isolement qui a précédé le décès de Degas en 1917 rendit d’autant plus éblouissante la découverte des nombreuses statuettes en cire qui furent reproduites peu après par Hébrard. A une époque où l’Impressionnisme faisait l’objet de bilans sans complaisance, ces étranges figurines en cire étaient difficiles à apprécier. Elles perturbaient la construction historiographique d’un Degas « classique » qui, en ces années de « retour à l’ordre », s’élaborait au détriment du « peintre des danseuses » ; elles paraissaient comme des fruits isolés dans l’arborescence esquissée par les quelques rares histoires de la sculpture du XIXe siècle. Comment appréhender en effet ces corps de femmes en équilibre toujours précaire, arpentant l’espace avec une vitalité et une objectivité anatomique extraordinaires, sans souci ni d’anecdote ni de monumentalité, détachés de toute soumission à un quelconque parti pris architectural qui ne fût celui de leur propre structure interne ? et comment expliquer les raisons d’être de ces instantanés de gestes ayant comme seul « objet » la « dissipation même », et comme seule « fin » la modification « de notre sentiment d’énergie », que le sculpteur s’était donné pour tâche d’«  ordonner ou organiser » * dans des matériaux éphémères et sans noblesse ?<br />L’histoire de la réception critique des cires de Degas permet de replacer cet artiste au sein d’une modernité expérimentale, ignorant le « métier » au profit de l’expression des « inquiétudes de [l’] âme fébrile »**, bien loin d’un quelconque « retour à l’ordre ». <br /><br />* Paul Valéry, Degas, danse, dessin, (1936) dans : Œuvres, II, Gallimard, Bibliothèque de la Pléiade, 1960, p. 1171 et 1172.<br />** Idem.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41347120" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3b3e044118f319796a5f0749607152fe" rel="nofollow" data-download="{"attachment_id":61549695,"asset_id":41347120,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61549695/download_file?st=MTczMjc5NTYxMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6855440" href="https://otmed.academia.edu/froissartrossella">Rossella Froissart</a><script data-card-contents-for-user="6855440" type="text/json">{"id":6855440,"first_name":"Rossella","last_name":"Froissart","domain_name":"otmed","page_name":"froissartrossella","display_name":"Rossella Froissart","profile_url":"https://otmed.academia.edu/froissartrossella?f_ri=8865","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_41347120 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41347120"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41347120, container: ".js-paper-rank-work_41347120", }); 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Mélanges pour Anne Pingeot, sous la dir. de C. Chevillot, Paris, Nicolas Chaudun, 2008, p. 220-227.","created_at":"2019-12-18T04:34:27.783-08:00","url":"https://www.academia.edu/41347120/_De_la_dr%C3%B4lerie_en_histoire_de_l_art_notes_en_marge_des_cires_de_Degas_in_La_sculpture_au_XIXe_si%C3%A8cle_M%C3%A9langes_pour_Anne_Pingeot_sous_la_dir_de_C_Chevillot_Paris_Nicolas_Chaudun_2008_p_220_227?f_ri=8865","dom_id":"work_41347120","summary":"L’isolement qui a précédé le décès de Degas en 1917 rendit d’autant plus éblouissante la découverte des nombreuses statuettes en cire qui furent reproduites peu après par Hébrard. A une époque où l’Impressionnisme faisait l’objet de bilans sans complaisance, ces étranges figurines en cire étaient difficiles à apprécier. Elles perturbaient la construction historiographique d’un Degas « classique » qui, en ces années de « retour à l’ordre », s’élaborait au détriment du « peintre des danseuses » ; elles paraissaient comme des fruits isolés dans l’arborescence esquissée par les quelques rares histoires de la sculpture du XIXe siècle. Comment appréhender en effet ces corps de femmes en équilibre toujours précaire, arpentant l’espace avec une vitalité et une objectivité anatomique extraordinaires, sans souci ni d’anecdote ni de monumentalité, détachés de toute soumission à un quelconque parti pris architectural qui ne fût celui de leur propre structure interne ? et comment expliquer les raisons d’être de ces instantanés de gestes ayant comme seul « objet » la « dissipation même », et comme seule « fin » la modification « de notre sentiment d’énergie », que le sculpteur s’était donné pour tâche d’« ordonner ou organiser » * dans des matériaux éphémères et sans noblesse ?\nL’histoire de la réception critique des cires de Degas permet de replacer cet artiste au sein d’une modernité expérimentale, ignorant le « métier » au profit de l’expression des « inquiétudes de [l’] âme fébrile »**, bien loin d’un quelconque « retour à l’ordre ». \n\n* Paul Valéry, Degas, danse, dessin, (1936) dans : Œuvres, II, Gallimard, Bibliothèque de la Pléiade, 1960, p. 1171 et 1172.\n** Idem.","downloadable_attachments":[{"id":61549695,"asset_id":41347120,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6855440,"first_name":"Rossella","last_name":"Froissart","domain_name":"otmed","page_name":"froissartrossella","display_name":"Rossella Froissart","profile_url":"https://otmed.academia.edu/froissartrossella?f_ri=8865","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=8865","nofollow":false},{"id":15352,"name":"Historiography (in Art History)","url":"https://www.academia.edu/Documents/in/Historiography_in_Art_History_?f_ri=8865","nofollow":false},{"id":523198,"name":"Edgar Degas","url":"https://www.academia.edu/Documents/in/Edgar_Degas?f_ri=8865","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28595223" data-work_id="28595223" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28595223/_The_Sculpture_of_the_Hellenistic_Period_">“The Sculpture of the Hellenistic Period”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">16 September 2016: “The Sculpture of the Hellenistic Period”, article - on line personal work on the web site <a href="http://www.artmag.gr/articles/art-articles/about-art/item/7681-h-plastikh-ths-ellhnistikhs-periodou" rel="nofollow">http://www.artmag.gr/articles/art-articles/about-art/item/7681-h-plastikh-ths-ellhnistikhs-periodou</a> (Greek Language).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a 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