Sculpture and the Decorative in Britain and Europe: Seventeenth Century to Contemporary: Material Culture of Art and Design
Editat de Dr Imogen Hart, Dr Claire Jonesen Limba Engleză Hardback – 25 noi 2020
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Specificații
ISBN-13: 9781501341250
ISBN-10: 1501341251
Pagini: 352
Ilustrații: 103 bw
Dimensiuni: 152 x 229 x 28 mm
Greutate: 0 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Material Culture of Art and Design
Locul publicării:New York, United States
ISBN-10: 1501341251
Pagini: 352
Ilustrații: 103 bw
Dimensiuni: 152 x 229 x 28 mm
Greutate: 0 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Material Culture of Art and Design
Locul publicării:New York, United States
Caracteristici
Provides opportunity for sculpture and the decorative arts to shed light on one another, and for these largely distinct fields of scholarship to interweave, thereby providing a model for a more integrated mode of art history writing.
Notă biografică
Imogen Hart is Adjunct Assistant Professor of History of Art, University of California, Berkeley, USA.Claire Jones is Lecturer in History of Art, University of Birmingham, UK.
Cuprins
List of FiguresList of ContributorsAcknowledgements1. Sculpture and the decorative: towards a more integrated mode of art history writing, Imogen Hart (University of California-Berkeley, USA) and Claire Jones (University of Birmingham, UK)2. "Exulting and adorning it in exuberant strains": Music, figuration and ornamentation in Abel Schrøder's altarpiece (Skt Morten in Næstved, Denmark), Margit Thøfner (Independent Scholar)3. Galathea: Ships, sculpture and the state in Golden Age Denmark, Michael Hatt (University of Warwick, UK)4. An allegory of civic virtue: Sculpture and ornament in St George's Hall, Liverpool, Katie Faulkner (Courtauld Institute of Art, UK)5. Sculpture and the decorative in fin-de-siècle Brussels: Women as creators and consumers, Marjan Sterckx (Ghent University, Belgium)6. "Sacred stones guarded about with dragons": Welsh national identity in William Goscombe John's Corn Hirlas (1898), Melanie Polledri (Amgueddfa Cymru - National Museum Wales)7. Sculpture and the decorative at the Scottish National War Memorial, Imogen Hart (University of California-Berkeley, USA)8. Ornament and monument in German sculpture, 1910-1930: Milly Steger and Renée Sintenis, Nina Lübbren (Anglia Ruskin University, UK)9. Modernist sculpture and the decorative: Henri Laurens with Robert Mallet-Stevens and Le Corbusier, Anna Ferrari (Royal Academy London, UK)10. The decorative arts as found object: Converging domains for contemporary sculpture, Lisa Wainwright (School of the Art Institute of Chicago, USA)11. Gross domestic product: Contemporary British ceramics and the subversion of the monument, Laura Gray (Independent Art Historian)12. Fabrication and failure: Hacking the decorative in contemporary British art, Bridget O'Gorman (Artist and Researcher)Index
Recenzii
The rich case studies offered in this volume cumulatively propose a new framework for the study of three-dimensional representation, from figure to filigree. Its authors interrogate the unstable boundaries and porous relationships between sculptures and decorative objects, attending to contexts as varied as the architectural, the ceremonial, the national, the nautical, and the conceptual. Sculpture and the Decorative is the rare anthology that offers a broad chronological range-from the musical metaphors of 17th century altarpieces to institutional critique's reliance on the found object-in combination with a lively conversation among authors about the received terms through which art histories are narrated.
This timely volume insists on entanglement of sculpture and the decorative arts, too long separated from one another in Eurocentric histories of art. Spanning the period from the seventeenth century to the present, these essays challenge assumptions about the decorative arts' secondary role in relation to sculpture. Alongside stimulating theoretical and historical revisions of their intertwined histories, the book proposes vital new investigations of how formal debates intersect with urgent questions of gender, race, and nationalism.
Sculpture and decoration have a fraught relationship, often framed in terms of opposition: ornament is a condition that the sculptor struggles to transcend. This ground-breaking book shows the inadequacy of this view. Through a series of well-chosen case studies, it demonstrates that from the perspective of practitioners and the general public, these two artistic categories often combine, sometimes merging into new syntheses. Taken together, these accounts show how non-hierarchical approaches can open up new insights into the discipline of art history.
Timely and provocative, this volume brings together two artistic categories that the history of art has, for too long, treated apart. Arguing for a renewed re-evaluation of "high" and "low" within their specific historic and geographic settings, Sculpture and the Decorative is well-positioned to persuasively revise the canon and inform future art historical thinking. It is a must read for all students of visual and material culture, art history, design history, and architecture and a big challenge to any prior assumptions regarding disciplinary distinctions.
This timely volume insists on entanglement of sculpture and the decorative arts, too long separated from one another in Eurocentric histories of art. Spanning the period from the seventeenth century to the present, these essays challenge assumptions about the decorative arts' secondary role in relation to sculpture. Alongside stimulating theoretical and historical revisions of their intertwined histories, the book proposes vital new investigations of how formal debates intersect with urgent questions of gender, race, and nationalism.
Sculpture and decoration have a fraught relationship, often framed in terms of opposition: ornament is a condition that the sculptor struggles to transcend. This ground-breaking book shows the inadequacy of this view. Through a series of well-chosen case studies, it demonstrates that from the perspective of practitioners and the general public, these two artistic categories often combine, sometimes merging into new syntheses. Taken together, these accounts show how non-hierarchical approaches can open up new insights into the discipline of art history.
Timely and provocative, this volume brings together two artistic categories that the history of art has, for too long, treated apart. Arguing for a renewed re-evaluation of "high" and "low" within their specific historic and geographic settings, Sculpture and the Decorative is well-positioned to persuasively revise the canon and inform future art historical thinking. It is a must read for all students of visual and material culture, art history, design history, and architecture and a big challenge to any prior assumptions regarding disciplinary distinctions.