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Relevant bibliographies by topics / British Sculptors

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Academic literature on the topic 'British Sculptors'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "British Sculptors"

1

Wilkin, Karen. "British Sculptors Invade Paris." Hudson Review 49, no. 3 (1996): 457. http://dx.doi.org/10.2307/3852521.

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Verri, Giovanni, Hero Granger-Taylor, Ian Jenkins, Tracey Sweek, Katarzyna Weglowska, and William Thomas Wootton. "The goddess’ new clothes: the carving and polychromy of the Parthenon Sculptures." Antiquity 97, no. 395 (2023): 1173–92. http://dx.doi.org/10.15184/aqy.2023.130.

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White marble sculpture is a cornerstone of Western art history. Archaeological inquiry, however, has demonstrated that Classical sculpture and its associated architecture were once coloured. The authors examine the Parthenon Sculptures at the British Museum to identify traces of colour and carving on their surfaces. Using close examination and archaeometric techniques, the study shows that the sculptors finished surfaces with textures that reflected specific elements (e.g. skin, wool, linen) and these were then enhanced through the application of colour, including a purple colourant and Egypti

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Ackerman, Ada. "Redonner visage aux gueules cassées. Sculpture et chirurgie plastique pendant et après la Première Guerre mondiale." RACAR : Revue d'art canadienne 41, no. 1 (2016): 5–21. http://dx.doi.org/10.7202/1037548ar.

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During the First World War, French, British, and US sculptors dedicated their creative practice and knowledge to making masks for soldiers with facial injuries, thus allying art and science in an attempt to restore the most essential aspect of the soldiers’ identities. As artistic resources were mobilized to counter the destructive effects of the war, this new kind of sculpture engendered myths and fantasies about the artists’ power. This article argues that ultimately, though, the practice of mask-making was used as a strategy that benefitted the preservation of the prevailing economic and so

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Edwards, Jason, Amy Harris, and M. G. Sullivan. "Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (2020): 337–60. http://dx.doi.org/10.3828/sj.2020.29.3.6.

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In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore G

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Compton, Ann. "Affirmative action: British Sculptors and Sculpture and the monographic form in twentieth-century sculpture studies." Sculpture Journal 22, no. 2 (2013): 77–88. http://dx.doi.org/10.3828/sj.2013.19.

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Sullivan, M. G. "Two sculptor-geologists and the perception of marble in nineteenth-century Britain: Sir Francis Chantrey and William Brindley." Sculpture Journal 30, no. 2 (2021): 227–42. http://dx.doi.org/10.3828/sj.2021.30.2.10.

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This article focuses on two British sculptors who straddled the worlds of practical geology and sculpture in the nineteenth century, and in particular how their work affected the scientific and popular understanding of marble. Francis Chantrey and William Brindley were both long-term members of the Geological Society of London and contributed practical understanding of stone to the development of the geological discourse on white and coloured decorative marbles. This article looks at Chantrey’s use of fossiliferous British ‘marbles’ and his role in the growing comprehension of Carrara marble a

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White, Adam. "Rupert Gunnis and his Dictionary of British Sculptors." Sculpture Journal 16, no. 1 (2007): 47–73. http://dx.doi.org/10.3828/sj.16.1.5.

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Baker, Nick. "Managing the reputations of the New British Sculptors." Sculpture Journal 21, no. 2 (2012): 75–84. http://dx.doi.org/10.3828/sj.2012.18.

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Gapp, Isabelle. "Looking south: making monuments to the British Antarctic Expedition." Sculpture Journal 33, no. 2 (2024): 301–14. http://dx.doi.org/10.3828/sj.2024.33.2.15.

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Centred on the bronze relief Monument to the Antarctic Exploration Party under Captain Robert Falcon Scott: Dr Edward Wilson, Capt. Lawrence Oates, Lieut. Henry Bowers & Petty Officer Edgar Evans by Stanley Nicholson Babb, this article problematizes the ways in which narratives of polar exploration have been constructed in and by the Anglosphere. Situating this monument to the 1910–13 British Antarctic Expedition in conversation with the work of two British women sculptors, Kathleen Scott, the wife of Robert Falcon Scott, and contemporary artist Polly Gould, not only frames the wider image

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Belgherbi, Eva. "Crossing borders: researching British women sculptors in Paris in the late nineteenth century." Sculpture Journal 32, no. 1 (2023): 51–65. http://dx.doi.org/10.3828/sj.2023.32.1.04.

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Dissertations / Theses on the topic "British Sculptors"

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Hogarth, Jan. "'Dislocated landscapes' : a sculptors response to contemporary issues within the British landscape." Thesis, University of Sunderland, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268041.

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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle

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Lloyd, Frances. "The emergence of 'New British Sculpture', 1977-1982." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.618841.

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New British Sculpture, as it became known, dominated the international art world throughout the 1980s, following the public debut of a group of young British sculptors at the Venice Biennale in 1982. Shown at major art events such as Documenta, Bas/e, and the Sao Paulo Biennale, the work subsequently toured Europe, Japan, Australia and America, entering museum and private collections, and placing Britain firmly at the forefront of international artistic developments. This thesis focuses on how this grouping of sculptors, trained in the British art schools in the difficult economic and cultural

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Dogbe, Buckner Komla. "The influence of African sculpture on British art 1910 to 1930." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/7118.

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This thesis aims to discuss the influence of African wood sculpture on British art from 1910 to 1930. It proposes that the works, tastes and pronouncements of various 20th century British artists betray this influence and that although the British artists did not initially understand the conceptual foundations of African sculpture their limited knowledge was just sufficient for the modernization of British art through the adaptation of the formal qualities of African art. In assessing the validity of these propositions the thesis examines the factors and issues that facilitated the influence.

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Gilroy-Ware, Cora. "Marmorealities : classical nakedness in British sculpture and historical painting, 1798-1840." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5541/.

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Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical pai

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Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.

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This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically differe

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LeGrove, Judith. "'Towards retreat' : modernism, craftsmanship and spirituality in the work of Geoffrey Clarke." Thesis, University of Derby, 2007. http://hdl.handle.net/10545/299498.

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Sinan, Tarquin. "Current sculpture and its spaces; a focus on Great-Britain. From conception to reception, a study of the sculptural frame." Doctoral thesis, Universite Libre de Bruxelles, 2019. https://dipot.ulb.ac.be/dspace/bitstream/2013/281855/4/TOC.pdf.

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The present thesis examines the notion of “sculptural frame” through a meticulous analysis of the spatial practices observable in British Sculpture from the 20th and 21st centuries. The sculptural medium having been left out of the theoretical debate surrounding the frame’s artistic definition and application, this study’s aim is to make up for this lacuna by focusing on the interdependent relationship between three essential sculptural elements: the body (of the artist and of the beholder), the object and, of course, space. Beginning with Henry Moore and closing with a side-by-side analysis o

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Jenkins, Ian. "'The progress of civilisation' : the acquisition and arrangement of the sculpture collections of the British Museum, 1802-1860." Thesis, Royal Holloway, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285039.

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Yarrington, Alison. "The commemoration of the hero, 1800-1864 monuments to the British victors of the Napoleonic wars /." New York : Garland, 1988. http://catalog.hathitrust.org/api/volumes/oclc/16925682.html.

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Books on the topic "British Sculptors"

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1952-, Livingstone Marco, ed. British object sculptors of the '80s. Kyoto Shoin, 1989.

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1952-, Livingstone Marco, ed. British object sculptors of the '80s. Kyoto Shoin, 1989.

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1946-, Collins Judith, and Finn David 1921-, eds. Lynn Chadwick :b: The collection at Lypiatt Park. Ruder Finn Press, 2006.

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Price, Thomas J. Thomas J Price: Ordinary men. The Power Plant Contemporary Art Gallery, 2021.

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Council, British. A changed world: Sculpture from Britain. British Council, 1997.

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Spalding, Frances. 20th century painters and sculptors. Edited by Collins Judith 1946-. Antique Collectors' Club, 1990.

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Kapoor, Anish. Anish Kapoor: British Pavilion, XLIV Venice Biennale, May-September 1990. Visual Arts Department, British Council, 1990.

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8

Capper, James. Synergia: James Capper, Luke Hart, Pablo de Laborde Lascaris, Adeline de Monseignat, Manuel Muñoz, Amy Stephens, Samuel Zealey. Edited by Zealey Samuel 1986-, Stephens Amy 1981-, Muñoz Manuel, et al. Museo Federico Silva, Escultura Contemporánea, 2019.

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Rome, British School at, and Royal College of Art (Great Britain), eds. Rome scholars 1980-1990: The British School at Rome : painters, printmakers, sculptors, architects. British School at Rome, 1990.

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Fran, Lloyd, ed. Subtlety and strength: The drawings of Dora Gordine. Dorich House Museum, Kingston University, in association with Philip Wilson Publishers, 2009.

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Book chapters on the topic "British Sculptors"

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Marion Spielmann, British Sculpture and Sculptors of Today." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-38.

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Titi, Catharine. "Annex: The Parthenon Sculptures—The Trustees’ Statement (British Museum)." In The Parthenon Marbles and International Law. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26357-6_12.

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Groseclose, Barbara. "Indian Ironies, or British Commemorative Sculpture and (Re)shaped Memory." In Memory & Oblivion. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_67.

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Coltman, Viccy. "The operations of sculpture: (Re)writing restoration." In Classical Sculpture and the Culture of Collecting in Britain Since 1760. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199551262.003.0004.

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Abstract The restoration of the sculptures of Antinous, the faun, the sphinx, Acteon, and Venus, referred to in passing in the correspondence cited in the previous chapter, reminds us that in the modernity of the later 18th century, few ancient marbles were excavated intact and in pristine condition: what Hamilton refers to on one occasion as ‘preserved as when … come from the hands’ of the ancient sculptor. The restoration of ancient sculptures in 18th-century Rome has come to be seen as a highly controversial material and theoretical practice. Thanks largely to the pioneering research of the

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Coltman, Viccy. "‘Casting a lustful eye’: Charles Townley as collector and cataloguer." In Classical Sculpture and the Culture of Collecting in Britain Since 1760. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199551262.003.0008.

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Abstract As previously discussed in the Introduction, when Lord Lansdowne wanted to dispose of his duplicate sculpture of a Wounded Amazon (figure 1), his dealer Gavin Hamilton initially hoped that she might be a desirable acquisition for one of his other British clients. George Grenville, Thomas Mansel Talbot, and James Hugh Smith Barry were variously offered and rejected the opportunity to acquire the unwanted Amazon, with Charles Townley canvassing Mansel Talbot at Hamilton’s explicit request. These potential purchasers for Lansdowne’s Amazon are testimony to the social networks of communic

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Quin, Jack. "Senator Yeats and the Free State Coinage." In W. B. Yeats and the Language of Sculpture. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843159.003.0004.

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Abstract The third chapter begins by examining Senator Yeats’s role in designing the new Free State coinage from 1926 to 1928, as chairman of the committee charged with soliciting artists and recommending designs. Despite the wealth of evidence demonstrating Yeats’s interest in coins and medals, his appreciation of coins as an art form and his role in designing the coinage have not received sustained critical attention. This chapter considers coins as low-relief sculpture, connected to his deep interest in sculpture and European sculptors such as Carl Milles and Ivan Meštrović. The chapter iso

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Meer, Sarah. "Washington’s Napkin." In American Claimants. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812517.003.0006.

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This chapter traces the origins of Nathaniel Hawthorne’s The Marble Faun to his abandoned claimant novel (‘The Ancestral Footstep’), and argues that the novel transfers the inheritance theme to its depiction of American artists in Rome. It suggests an undercurrent of competition in Hawthorne’s depiction of the sculptors, and conflicted feelings about Hiram Powers and William Wetmore Story, particularly their self-chosen exile: conflict expressed in terms of the Yankee type. In Rome, the transatlantic difference that is so often signalled in clothes settles on nudity in statuary, a particular a

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Bidnall, Amanda. "Ronald Moody, from Primitive to Black British." In West Indian Generation. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940032.003.0005.

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“Ronald Moody, from Primitive to Black British” offers the first thorough, academic account of this British sculptor’s career, work, and evolving ideology as he negotiated more than fifty years in the British and European art worlds. This research suggests that although Moody’s sculpture was—like that of so many artists of this generation—influenced by the experience of world war, European modernism, and decolonization, his reception by critics was dictated by the racial and imperial politics of the day. Whether he was exoticized as an exponent of Jamaican primitivism, praised as a Commonwealt

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Ugolini, Wendy. "Mourning and Memorializing." In Wales in England, 1914-1945. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198863274.003.0007.

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Abstract ‘Mourning and Memorializing’ focuses on the commemorative practices surrounding the English Welsh war dead including Welsh epitaphs on the tombstones of English-born soldiers, officially commissioned memorial artwork at Westminster which acknowledged dualities, and the involvement of English Welsh sculptors and artists, such as Alice Meredith Williams, in British memorialization activity. It addresses the shift in English Welsh memorialization activity between the two conflicts. This chapter includes an in-depth case study of the London-born Squire of Hawarden, Lt William Gladstone MP

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Hoock, Holger. "A Year In The Life Of Joseph Farington, R.A." In The King’s Artists. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199266265.003.0010.

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Abstract The year 1798 was a tremendously busy one for landscape painter Joseph Farington. His painting practice and active social life apart, he was central to many Academy projects. Though he did not hold any office, as a natural and astute administrator and chief adviser to President West, Farington pulled the strings behind the scenes at Somerset House. The year started with celebrations: Farington, West, and Robert Smirke had successfully lobbied Parliament to grant Academicians an exemption from Pitt’s dramatic trebling of assessed taxes. Throughout the spring, Farington then kept an eye

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Conference papers on the topic "British Sculptors"

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Котломанов, А. О. "TECHNOLOGIES OF METAMODERNISM: PROJECTIONS OF THE THEORETICAL ASPECTS. HENRY MOORE’S “IDEAS FOR SCULPTURE” – BETWEEN ART AND DESIGN." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.06.

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В контексте антиномии искусства и дизайна представляется уместным критически взглянуть на художественное наследие XX столетия с позиции метамодернистского подхода (в буквальном смысле этого понятия). Таким образом, наследие модернизма, его практики и теоретические позиции будут переосмыслены относительно, с одной стороны, традиции, с другой стороны — терминологии прикладного искусства и дизайна. В этом отношении ярким примером синтеза искусства и дизайна представляются рисунки выдающегося британского скульптора Генри Мура, известные как «идеи для скульптуры». In the context of the antinomy of

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