Relevant bibliographies by topics / Neoclassical sculpture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Neoclassical sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Neoclassical sculpture"

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Ruprecht, Louis A. "Still Life." liquid blackness 6, no. 1 (April 1, 2022): 140–65. http://dx.doi.org/10.1215/26923874-9546602.

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Abstract This essay explores the subtle interplay between sculptural bodies and animate bodies by exploring several “moments” in the history of classical and neoclassical aesthetics. These exemplary moments include the ancient Roman period (Pliny's reflections on Greek sculpture); the eighteenth and nineteenth centuries (Winckelmann's reflections on Greek sculpture and later Italian excavations at Pompeii); the twentieth century (Nazi adaptations of ancient Greek sculpture in Munich); and the twenty-first century (recurring discussion of polychromatic Greek art). Given that most of the art under discussion was “pagan,” this slippage between sculptural bodies and animate bodies highlights the presence of desire, specifically a desire for forbidden bodies.
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Frasca-Rath, Anna. "On the reception and agency of neoclassical sculpture and its material: case studies from Viennese sculpture galleries (c. 1780-1820)." Sculpture Journal 30, no. 2 (November 1, 2021): 177–314. http://dx.doi.org/10.3828/sj.2021.30.2.6.

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The last two decades have seen a surge in publications and exhibitions on neoclassical sculpture, exploring histories of collecting, transnational artistic exchange, artistic self-fashioning strategies, workshop processes, new biographical insights and art-theoretical questions. However, there is relatively little research regarding the display and staging of neoclassical sculpture in comparison with earlier periods. The years around 1800 marked the peak of a fashion for purpose-built galleries that appeared all over Europe. The multimedia setting for sculpture in this new type of building tied in with contemporary patterns of staging and viewing artworks in different contexts, such as tableaux vivants and phantasmagorias. This article investigates the different modes of communication between viewer and object in neoclassical sculpture galleries to shed light on the reception of these objects and their respective material. Case studies are centred on the Viennese sculpture galleries of Nicolas II, Prince Esterházy, Andrej Razumovsky and Joseph Count of Fries in the late eighteenth and early nineteenth centuries.
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Contreras Vargas, Jannen. "Un águila y un carcaj que han ofendido altamente a la nación mexicana." Intervención 2, no. 28 (February 16, 2024): 38–87. http://dx.doi.org/10.30763/intervencion.286.v2n28.65.2023.

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Se ha dicho que elementos de la escultura El Caballito, obra del escultor y arquitecto Manuel Tolsá: un carcaj, bajo uno de los cascos del caballo, y un águila, que fue retirada supuestamente a cincel, simbolizan una ofensa a la nación mexicana. Mi propuesta, surgida de información obtenida durante los trabajos de restauración y mediante el análisis de decisiones tecnológicas, de cadenas operativas y de comportamiento, es que el águila no formó parte de la escultura, sino que se integró como una intervención, durante un corto periodo, mientras que, en el contexto neoclásico, el carcaj busca representar al rey como un buen gobernante apolíneo, no como uno que humilla a los pueblos que gobierna. ____ It is said that elements of the sculpture El Caballito by the sculptor and architect Manuel Tolsá—a quiver, under one of the horse's hooves, and an eagle, which was supposedly chiseled out—symbolize great offence to the Mexican nation. My paper’s proposal, based on information obtained during the conservational work and through the analysis of technological choices and of chaînes opératoires and behavioral chains, is that the eagle was not part of the original sculpture, but rather integrated as an external intervention during a short time, and that the quiver, in the neoclassical context, aims to depict the king as the ideal of a good Apollonian ruler, not as one who humiliates the people he rules.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.

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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Bouhet, Elise. "Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 285–303. http://dx.doi.org/10.3828/cfc.2020.17.

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What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.
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BARRYTE, BERNARD. "THE RETURN OF THE GODS: NEOCLASSICAL SCULPTURE IN BRITAIN BY MARJORIE TRUSTED (ED.)." Art Book 15, no. 4 (November 2008): 21–22. http://dx.doi.org/10.1111/j.1467-8357.2008.00990_3.x.

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Sparkes, Brian A. "IV Luxury Items." New Surveys in the Classics 40 (2010): 75–94. http://dx.doi.org/10.1017/s0017383510000732.

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The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as the exclusive elements of Greek art, with a concomitant emphasis on the aspects of restraint, simplicity, and so forth that were highlighted by the Neoclassical attitudes to Greek art that emerged in the eighteenth century. This approach has led scholars to demean the more lavish products that, by the very nature of their intrinsic value, have failed to survive in any numbers – gold, silver, ivory, and the like. Recent excavations, particularly those in cemeteries situated in the outlying areas of the Greek world and in the regions bordering on ancient Greece, have brought to light some of those expensive objects that are now missing from the Greek heartlands. Meanwhile, investigations into the more flamboyant aspects of Greek art have shown that buildings and architectural and freestanding sculpture were lavishly coloured. A nineteenth-century drawing by Donaldson shows coloured glass beads set into a column capital of the Erechtheion (Figure 21).
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Nelson, Charmaine A. "White Marble, Black Bodies and the Fear of the Invisible Negro: Signifying Blackness in Mid-Nineteenth-Century Neoclassical Sculpture." RACAR : Revue d'art canadienne 27, no. 1-2 (2000): 87. http://dx.doi.org/10.7202/1069725ar.

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Musatova, Tatyana. "Emperor Nicholas I, collector and philanthropist. Days 9/22 and 10/23 December 1845 in Bologna." Stephanos Peer reviewed multilanguage scientific journal 54, no. 4 (July 31, 2022): 50–67. http://dx.doi.org/10.24249/2309-9917-2022-54-4-50-67.

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Bologna with its eldest university in Europe was an important point of Emperor Nicholas I’s grand tour of Italy in 1845. In Rome the tsar talked with the Pope on problems of inter-church relations, then the rest of the time in the eternal city and along the entire route (from Palermo to Naples, from Florence to Bologna and Venice) he showed himself as a prominent collector, patron of the arts, who adopted his parents love for Italian art. The tsar had a special reverence for the Bologna painting school, the Bolognese Baroque style, which, along with the Roman Baroque, was refl ected in his purchases for the New Hermitage. Only in Bologna he acquired the originals of classical painting (Guercino, Agostino Caracci). There he practically completed the formation of his famous collection of Italian neoclassical sculpture (C. Baruzzi) and ordered copies from the local Pinacoteca of such a high level that they, having partially reached our time, were honored to enter the GE painting collection. Russian monarch’s visit is commemorated only in Rome and Bologna by commemorative plaques, the fi rst of which is offi cial, and the second is an “ordinary” Bolognese marquis, who considered it an honor to visit his palace by the Russian tsar.
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Bass, Vadim. "Designs of Soviet war monuments, 1941–1945: transformation of the memorial genre, the models, the visual language and its sources." Zeitschrift für Slawistik 66, no. 2 (June 1, 2021): 290–322. http://dx.doi.org/10.1515/slaw-2021-0014.

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Summary The article examines Soviet memorial designs of the Great Patriotic War period (1941–1945). These monuments were unorthodox in terms of visual language, and they differed strikingly from the Stalinist neoclassical mainstream of the previous decade. Architects tried to find means of commemoration of the enormous tragedy of war that they faced. Analysis of the poetics of their designs along with the commonplaces of the respective critical discourse reveals the process whereby the memorial genre was transformed. This article discusses the monumental tradition developed by the 1940 s, the models, the sources of motifs and solutions, and some stylistic and architectural peculiarities characteristic of wartime projects. Whereas previously the Soviet architects from the early 1930s had been working on the ‘ultimate’ monument – the Palace of Soviets in Moscow – with the beginning of the war they shifted to improvising in order to ‘stretch’ the limits of genre. I examine the ways in which they broke the limits and shaped the dense, overwhelming memorial narrative to be transmitted by the monuments. New memorials were considered as a form of heroic epic, analogous to the literary epics but expressed by means of architecture and sculpture. The nationalistic sentiments typical of the war years were reflected in both the design ideology and the perception of memorials. Alongside persistent motifs (such as 'prancing' tanks) emerged new themes (the commemoration of victims along with heroes). The technique of provoking the viewer’s emotions, as well as the visual language and architectural style of some structures and particular solutions (such as massive stone cubes), demonstrate the inheritance from the post-Revolutionary Modernist architecture. This unorthodox stylistic flexibility illustrates the ‘liberation’ of architects – and the short cultural ‘liberalization’ on the wartime period.
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Dissertations / Theses on the topic "Neoclassical sculpture"

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Gustin, Melissa L. "Eating the lotus : new critical approaches to neoclassical sculpture." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/20534/.

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This dissertation uses object-based case studies to explore how works by Emma Stebbins and Harriet Hosmer—and by extension, the broader field of American neoclassical sculptors—were influenced by the complex visual and historical field of Rome, 1852–1878. This project models different ways of reading and responding to sculptures which are complex works of classical translation, reference, and response, through an object-first and experience-based approach. I discuss four sculptures in three case studies: Hosmer’s Daphne and Medusa (1853, 1853/4), Stebbins’s The Lotus-Eater (1857/60), and Hosmer’s Pompeian Sentinel (1876/8). These case studies have been chosen for their rich, multivalent relationships to previous artistic models, texts, and visual spaces in Rome (both the modern city and the ancient empire). I bring together methodological and critical approaches that have not been previously used for American neoclassical scholarship, especially Eve Kosofsky Sedgwick’s definition of ‘camp’ and weak theory. I utilize literary models of classical reception, allusion, and intertext, theories of objects in relation to time and to other objects, ecological models, and archaeological theories. My object-first approach draws heavily on first-hand observation of sites in Rome and its surrounding areas, especially Pompeii. Within this thesis, I emphasize this first-hand experience along with the importance of travel to these sites as part of my research method through the strategic use of the first person and an emphasis on the intellectual, emotional responses to sites that I had. This reinforces my dissertation’s aim of enlivening the scholarly discourse around neoclassical scholarship as well as engaging in academic honesty, rather than upholding a dispassionate empiricism that does not reflect the methodological and critical approach of this project. These will be theoretically rich, chronologically complex, and emotionally engaged readings of these works, that embrace the multivalent, anachronic potentials of neoclassical sculpture.
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Nystrom, Karen JoAnn Bangsund. "Aiming to Please: Antoine-Denis Chaudet's Cupid Playing with a Butterfly and the Issues of Iconography and Patronage." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1242827544.

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Books on the topic "Neoclassical sculpture"

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Ri͡azant͡sev, I. V. Russkai͡a skulʹptura vtoroĭ poloviny XVIII-nachala XIX veka: Problemy soderzhanii͡a. Moskva: Rossiĭskai͡a akademii͡a khudozhestv, Nauchno-issl. in-t teorii i istorii izobrazitelĭnykh iskusstv, 1994.

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Priego, Carlos Cid. La vida y la obra del escultor neoclásico catalán Damià Campeny i Estrany. Barcelona: Biblioteca de Catalunya, 1998.

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Friborg, Flemming. Dansk guldalderskulptur: 1800-1850 : Ny Carlsberg glyptotek, 5. maj-20. september 1994. [Copenhagen]: Ny Carlsberg glyptotek, 1994.

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Rakov, I︠U︡riĭ. Skulʹpturnyĭ Olimp Peterburga: Puteshestvie v antichno-mifologicheskiĭ Peterburg. Sankt-Peterburg: "Iskusstvo-SPB", 2000.

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(Gallery), Tate Britain, ed. The return of the Gods: Neoclassical sculpture in Britain. London: Tate Pub., 2008.

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Fahlman, Betsy. Spirit of the South: The sculpture of Alexander Galt, 1827-1863. Williamsburg, Va: Joseph and Margaret Muscarelle Museum of Art, College of William and Mary, 1992.

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Nitsche, Wolfgang. Das Schaffen der hochklassizistischen deutschen Bildhauer: Akademismus, Romerlebnis, Innovation, und Antikerezeption. Bergisch Gladbach: J. Eul, 1992.

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1770-1844, Thorvaldsen Bertel, Zatorska-Antonowicz Ilona, and Zamek Królewski (Warsaw Poland), eds. Thorvaldsen w Polsce: Katalog wystawy, 17 października 1994-22 stycznia 1995. W Warszawie: Zamek Królewski-Biblioteka Stanisławowska, 1994.

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Alain, Daguerre de Hureaux, and Riou Charlotte, eds. Cent ans de sculpture (1750-1850): La collection du Musée des Augustins. Toulouse: Musée des Augustins, 2002.

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Kiesling, Leopold. Leopold Kiesling e la natura rivelata dalle arti. Roma: Galleria Carlo Virgilioarte moderna e contemporanea, 2015.

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Book chapters on the topic "Neoclassical sculpture"

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Evans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer, 117–64. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.

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Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
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Fitzgerald, William. "Sculpture between the Graceful and the Heroic." In The Living Death of Antiquity, 120–73. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192893963.003.0003.

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This chapter discusses the focus of neoclassical idealization of antiquity on sculpture, comparing the work of Antonio Canova to that of Bertel Thorvaldsen. Antonio Canova’s Theseus and the Minotaur has been described as the first neoclassical sculpture. This chapter begins with a discussion of the fluctuating reputation of Canova as a diagnosis of the mixed feelings aroused by neoclassicism. It contains close reading of Canova’s Theseus as a neoclassical work, and of his Three Graces, particularly in relation to the role of grace as a quality attributed to the ancient world, and to the equivocation between marble and flesh in its figures. The second part of the chapter considers the sculptures of Bertel Thorvaldsen as neoclassical ‘correctives’ to Canova and compares their different approaches to the same subjects or ancient models. Canova’s Three Graces and Perseus are compared to Thorvaldsen’s Three Graces and Jason, and the chapter ends with a comparison between the two sculptors’ treatment of the figure of Hebe, a neoclassical icon. Throughout, attention is paid to the reinterpretation of ancient models, such as the Apollo Belvedere.
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Fitzgerald, William. "Modernism, Neoclassicism, and Irony." In The Living Death of Antiquity, 213–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192893963.003.0005.

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This chapter discusses the relation between neoclassicism and modernism. It sets Satie’s ‘Symphonic Drama’ on texts of Plato, Socrate, in the context of post-First World War neoclassicism in France. In this work, Satie presents a ‘white’ antiquity, and his provocative cultivation of boredom and monotony is read as an embracing of qualities decried by the critics of neoclassicism. The trademark irony of Plato’s Socrates emerges in Satie’s work as a modernist deadpan. The figure of Socrates familiar from the earlier neoclassicism of Jacques-Louis David’s painting of Socrates taking the hemlock is shorn of ethical and philosophical content by Satie, and Socrates’ exemplarity is located purely in gesture. The chapter analyses the poetics of simplicity, which in this work leaves the audience suspended between sublimity and boredom. Taking the story up to more recent times, the chapter ends with Robert Mapplethorpe’s classicizing photography of the naked body and his close-up on the face of the Apollo Belvedere (in the photograph Apollo) and also briefly considers Leo Caillard’s playful clothing of a neoclassical sculpture with a Nike T-shirt.
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Brennan, T. Corey. "Early Modern and Neoclassical Fasces." In The Fasces, 121—C8.P40. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0008.

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Abstract What propelled the fusion of Roman fasces with Aesop’s moralizing tale of sticks was the Nova Iconologia of Cesare Ripa (1555–1622), a compilation of emblems first published in an illustrated edition in 1603. There both Justice and Concord suggestively receive as their attributes a fascio di verghe (“bundle of sticks”). Later editors of Ripa completed the conflation. In France, the powerful cardinal and statesman Jules Mazarin (1602–1661, chief minister to the crown from 1642) shamelessly exploited the fasces, ostensibly as a family heraldic emblem but with the effect of creating a personal brand. Mazarin attracted many encomiasts, who did much to promote the emphatically non-Roman idea that the fasces represented unity, and good government in general. This whole understanding of the fasces culminates in a bronze full-length portrait statue of Louis XIV (reigned 1643–1715), dedicated in 1689 at Musée Carnavalet in Paris. Here the sculptor Antoine Coysevox (1640–1720) portrayed the king in a Roman cuirass, resting his left arm on an axe-less fasces topped by a helmet. In its context, the fasces conveys a balanced message of strength, dominion, moderation, and unity through reconciliation, while also rekindling memories of Mazarin’s own policies as advisor to the king. Yet in this period no nation shows much interest in putting the fasces on civic coats of arms, flags, coins, and the like. Even in the 1760s, when the antiquarian obsessions of the Neoclassical movement were at their peak, the fasces seemed fated to find itself just one derivative antique decorative element among many.
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Richardson, Edmund. "Of Doubtful Antiquity." In From Plunder to Preservation. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265413.003.0002.

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This chapter examines the ways in which Britain's campaigns in the Crimean War (1854–56) became entangled in the ancient world. During the conflict, British officers in the Crimea went in search of ancient sites to excavate — while newspapers in London reported avidly on their finds. The chapter centres around Duncan McPherson, a military doctor who carried out several strikingly ambitious Crimean excavations in collaboration with Robert Westmacott, son of the neoclassical sculptor Sir Richard Westmacott. It explores how difficult and frustrating the search for the ancient world became, for Britain's soldier-archaeologists — and how frequently their pursuit of the past was thwarted.
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Franko, Mark. "The Critical Reception of Serge Lifar (1929–1939)." In The Fascist Turn in the Dance of Serge Lifar, 54–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503324.003.0003.

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Chapter 2 analyzes the critical reception of Serge Lifar at the Paris Opera during the 1930s. Evidence is presented of Lifar’s poor critical reception at the start of the decade and the characteristics of his dancing are analyzed in relation to the developing ideals of neoclassical ballet. The analysis reveals a gradual drift in critical language toward a fascist conception of Lifar’s dancing body as a polarity machine. This vision of Lifar is put forward with respect to the double level of artistic activity demanded of the dance artist who, as choreographer, is the contemplative painter of compositions, but who as dancer is the sculptor whose artistic material is his own body. Lifar seemed to embody by turns both the Apollonian and Dionysian sides of Nietzsche’s influential argument on the origin of tragedy. The chapter also covers the debate over the meaning of neoclassicism in French ballet during the 1930s and the role Lifar played in this debate both as an object of discussion and an interlocutor. Critics include Russian émigrés under the influence of Akim Volynsky: André Levinson, Julia Sazonova, and André Schaïkevitch and their French compeers Roger Lannes and Maurice Brillant. Arguing for a formalist and idealist conception of balletic neoclassicism, the Russo-French school used the work of Serge Lifar as their main example. This chapter also explores in depth André Levinson’s change of heart concerning Lifar and the relation of Lifar to Vaslav Nijinsky in Levinson’s criticism.
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Quevedo, Marysol. "Neoclassicism Meets 1940s Pan Americanism." In Cuban Music Counterpoints, 27—C1F10. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197552230.003.0002.

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Abstract This chapter explores the activities of the Grupo de Renovación Musical (GRM) during the 1940s by laying out the political and economic contexts of 1940s Pan Americanism. It delves into the group’s aesthetic preoccupations and their efforts to reconcile neoclassical approaches with nationalist aesthetics, and their activities within the GRM as a process of maturation. A brief examination of La música en Cuba, the first book to present a chronological history of Cuban music written in 1946 by Alejo Carpentier, follows. This chapter includes musical analysis of two works, Argeliers León’s Sonatas a la Virgen del Cobre and Harold Gramatges’s Sernata, as prime examples of the group’s compositional output. During the 1940s group members shaped the Cuban classical music scene by cultivating a series of overlapping networks that allowed them to gain access to and control of resources through which they promoted their artistic agendas. Little by little they accrued the cultural capital that would make them the leaders of the Cuban music scene through the 1950s and into the first decades after the 1959 Revolution. This network consisted of local musicians; international composers and performers; other local artists that included painters, sculptors, dancers, poets, novelists, and film makers; and government institutions and the individuals who led them. It was in this decade, the 1940s, that the paths chosen, alliances forged, and aesthetic preferences explored and cemented would determine the future of the Cuban classical music composition tradition, a tradition that bears their legacy to this day.
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Conference papers on the topic "Neoclassical sculpture"

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Chenoweth, Richard. "The Collaboration of B. Henry Latrobe and Giuseppe Franzoni to Create the Nation’s First Statue of Liberty (1807-1814)." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.76.

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When the U. S. Capitol burned on 24 August 1814, its principal chambers were gutted and an early masterpiece of American Neoclassical sculpture, a colossal personification of Liberty in the style of the times, was completely destroyed. The Liberty is not well known because in her brief lifetime, no artist stopped to record her - not even Latrobe himself, a prolific sketcher. Liberty presided over Latrobe’s majestic Hall of Representatives, a chamber that was, itself, a difficult collaboration of conflicting ideas between its client Thomas Jefferson and its architect Latrobe. Liberty was an integral part of the architecture and of the architectural sequence; upon entry into the chamber, the ten foot tall sitting Liberty established the chamber’s cross axis within the streaming diffusion of one hundred skylights, proffered entrants a carved copy of the Constitution, cradled a cap of liberty, and was heralded by a bald eagle. Latrobe’s drive to create the Liberty was essential to his concept for the Hall of Representatives. His collaboration with the artist Franzoni also is essential as it demonstrates the delicate dialectic between architectural concept and executed form in a public project. I will show for the first time a model of the colossal Liberty, carefully reconstructed based on all known facts, a single drawing, and the aesthetic proclivities of the principal designers. I have diligently reconstructed the entire Hall, with the Liberty, necessarily, being the most formidable aspect of the design. The making of the Liberty represents about twenty years of effort by various architects and artists to bring to fruition the confluence of a major public work of American architecture and an integral work of monumental American sculpture.
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