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Books on the topic 'Neoclassical sculpture'

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

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1

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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2

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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3

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

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4

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

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5

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

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6

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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7

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

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8

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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9

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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10

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

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11

Lambrechts, Marc. Le silence intérieur: La tendance animiste dans la sculpture belge vers 1940. Bruxelles: Kredietbank, 1995.

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12

Gallo, Daniela. Modèle ou miroir?: Winckelmann et la sculpture néoclassique. Paris: Maison des sciences de l'homme, 2009.

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13

Kunstgeschichte, Deutsches Forum für, ed. Modèle ou miroir?: Winckelmann et la sculpture néoclassique. Paris: Maison des sciences de l'homme, 2009.

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14

Antonio, Musiari, Di Raddo Elena, Cioccolo Floriana, Ortelli Gottardo 1938-, and Marchesi Pompeo 1783-1858, eds. Pompeo Marchesi: Ricerche sulla personalità e sull'opera. Gavirate (Varese): Nicolini, 2003.

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15

Italia, Fondazione Ermitage, ed. Museo statale Ermitage: La scultura italiana dal XVII al XVIII secolo : da Bernini a Canova. Milano: Skira, 2017.

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16

S, Androsov, Bertozzi Massimo 1951-, and Palazzo ducale (Massa Italy), eds. Sotto il cielo di Roma: Scultori europei dal barocco al verismo nelle collezioni dell'Ermitage. [Italy]: Maschietto & Musolino, 2000.

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17

Lilli, Maria Sofia. Aspetti dell'arte neoclassica: Sculture nelle chiese romane, 1780-1845. [Roma]: Istituto nazionale di studi romani, 1991.

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18

Carlos, Museo de San. La colección de el paseo de las esculturas. México, D.F: Museo Nacional de San Carlos, 2007.

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19

Masmela, Rebeca Kraselsky. La colección de el paseo de las esculturas. Edited by Franco González Salas, Ma. Teresa (María Teresa) and Museo de San Carlos. México, D.F: Museo Nacional de San Carlos, 2007.

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20

Bolotova, G. Letniĭ sad. 2nd ed. Leningrad: "Khudozhnik RSFSR", 1988.

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21

Almazov, Boris. Povesti kamennykh gorozhan: Ocherki o dekorativnoĭ skulʹpture Sankt-Peterburga. Moskva: Izdatelʹstvo T︠S︡entrpoligraf, 2012.

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22

Mikocka-Rachubowa, Katarzyna. Canova: Jego krąg i Polacy, około 1780-1850. Warszawa: In-t Sztuki Polskiej Akademii Nauk, 2001.

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23

Pérez, Gerardo Fuentes. Canarias, el clasicismo en la escultura. Santa Cruz de Tenerife: Aula de Cultura de Tenerife, Cabildo de Tenerife, 1990.

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24

Androsov, S. Antichnye mify v kamne i bronze: Peterburgskai︠a︡ gorodskai︠a︡ skulʹptura : spravochnik-putevoditelʹ. Sankt-Peterburg: Informat︠s︡ionno-izdatelʹskoe agentstvo "LIK", 2003.

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25

Nelson, Charmaine. The color of stone: Sculpting the black female subject in nineteenth-century America. Minneapolis: University of Minnesota Press, 2007.

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26

Nelson, Charmaine. The color of stone: Sculpting the black female subject in nineteenth-century America. Minneapolis: University of Minnesota Press, 2007.

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27

H, Gerdts William, and Chrysler Museum, eds. A marble quarry: The James H. Ricau collection of sculpture at the Chrysler Museum of Art. New York: Hudson Hills Press in association with the Chrysler Museum of Art, 1997.

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28

Wiedewelt, Johannes. Johannes Wiedewelt: A Danish artist in search of the past, shaping the future. Copenhagen: Museum Tusculanum Press, University of Copenhagen, 2010.

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29

Clara, Maldini, and Bersani Cristina, eds. Uno scultore neoclassico a Bologna fra Restaurazione e Risorgimento: Il fondo Cincinnato Baruzzi nella Biblioteca dell'Archiginnasio. Bologna: Comune di Bologna, 2007.

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30

Staatliche Schlösser und Gärten Baden-Württemberg, ed. Die Skulpturen aus Schloss Rosenstein: Aus der Sammlung König Wilhelms I. von Württemberg. Bruchsal: Staatliche Schlösser und Gärten Baden-Württemberg, 2010.

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31

Jeanette, Lauterbach, Hoffmann Hermann, and Thüringer Landesmuseum Heidecksburg, eds. Antlitz des Schoenen: Klassizistische Bildhauerkunst im Umkreis Goethes. Rudolstadt: Thüringer Landesmuseum Heidecksburg, 2003.

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32

Alberta, Campitelli, Palazzo delle esposizioni (Rome, Italy), and Rome (Italy). X Ripartizione--Antichità, belle arti e problemi della cultura., eds. Il Giardino del Lago a Villa Borghese: Sculture romane dal Classico al Neoclassico. Roma: Àrgos, 1993.

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33

Grandesso, Stefano. Episodi di scultura in Italia: Dal neoclassico al "ritorno all'ordine" : 28 maggio-28 luglio 2002. Roma: C. Virgilio, 2002.

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34

Pierre Julien and French neoclassical sculpture. 1987.

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35

Kansteiner, Sascha. Pseudoantike Skulptur II: Klassizistische Statuen Aus Antiker und Nachantiker Zeit. de Gruyter GmbH, Walter, 2017.

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36

Kansteiner, Sascha. Pseudoantike Skulptur II: Klassizistische Statuen Aus Antiker und Nachantiker Zeit. de Gruyter GmbH, Walter, 2017.

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37

Pseudoantike Skulptur II: Klassizistische Statuen Aus Antiker und Nachantiker Zeit. de Gruyter GmbH, Walter, 2017.

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38

Skulʹpturnyĭ Olimp Peterburga: Puteshestvie v antichno-mifologicheskiĭ Peterburg. Sankt Peterburg: Iskusstvo-SPb, 2000.

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39

Clodion et la sculpture française de la fin du XVIIIe siècle: Actes du colloque organisé au musée du Louvre par le service culturel les 20 et 21 mars 1992. Paris: La Documentation française, 1993.

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40

Thorvaldsens Museum: Director's Choice. Scala Books, 2016.

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41

Ricordi dell'antico: Sculture, porcellane e arredi del grand tour. Cinisello Balsamo (Milano): Silvana, 2008.

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42

Effenberger, Hans. Thorvaldsen's Plaster Casts from the Antique And 1400-1800: The Roman Plaster Cast Market 1750-1840. Aarhus Universitetsforlag, 2020.

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43

(Editor), Marjatta Nielsen, and Annette Rathje (Editor), eds. Johannes Wiedewelt: A Danish Artist in Search of the Past, Shaping the Future. Museum Tusculanum, 2008.

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44

Antonio Canovas Mythologische Statuen: Zur Frage Der Ansichtigkeit (Ars Faciendi). Peter Lang Publishing, 2005.

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45

Dabakis, Melissa. Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome. Pennsylvania State University Press, 2015.

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46

Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome. Pennsylvania State University Press, 2014.

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47

Owen, Jonathan. Untitled. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450320.

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The output is a life-size figurative sculpture, produced as a publicly-funded commission for Edinburgh Art Festival, 2016, an annual city-wide festival of international contemporary art. It was made by carving into a section of a 19th century marble statue to alter its shape by replacing the torso with movable, interlinking forms. This intervention rendered the statue unstable, leaving it intact and upright but shifted into a new posture. The work is one of a series of deconstructions of neoclassical sculpture that Owen has made over the past five years. For the duration of the festival, the work was exhibited inside the Burns Monument, a neoclassical temple on Edinburgh’s Calton Hill. It received an audience of 13,058 people. The sculpture was subsequently exhibited at Frieze London, 2016, where it was acquired for the collection of the National Gallery of Victoria, Melbourne. It was exhibited in the NGV Triennial 2017–2018, with an audience of 1,231,742 people.
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48

Kuttner, Ann. (Re)presenting Romanitas at Sir John Soane’s House and Villa. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272333.003.0002.

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This paper considers the houses of Neoclassical British architect Sir John Soane (1753–1837): his famous House Museum in Lincoln’s Inn Fields, London; and the considerably less-well known Pitzhanger Manor House, Ealing. With architectural precedents set by Sir Francis Bacon and Lord Burlington, nothing could have been more Roman in Soane and his contemporaries than the conviction that a house and its decor express the persona of the inhabitant. Soane was a working-class Englishman with enormous social and professional ambitions. Both Pitzhanger Manor and the house at Lincoln’s Inn Fields and drew inspiration and showcased materials from Soane’s travels in Italy with Frederick Hervey, Earl-Bishop of Derry and the design of his classicizing estate at Downhill; contemporary excavations at Pompeii and the Villa Negroni; and Soane’s own collection of Classical sculpture, and plaster casts. These houses, with their faux-ruins and talismanic interiors of “Pompeiian red,” were not only dwelling places for Soane and his family, they signaled his gentrification, while simultaneously advertising what he could produce for elite clients. Soane’s interpretation of Classical forms and creation of Neoclassical forms was grounded in archaeological discoveries and a knowledge of Classical antiquity, marking an important distinction between him and many of his contemporaries.
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49

Fitzgerald, William. The Living Death of Antiquity. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192893963.001.0001.

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This book is about the idealization of an antiquity that exhibits, in the words of Johann Joachim Winckelmann, ‘a noble simplicity and quiet grandeur’. It discusses the aesthetics of this strain of neoclassicism as manifested in a range of work in different media and periods but focusing on the late eighteenth and early nineteenth centuries. John Flaxman’s engravings on the Iliad and the sculpture of Antonio Canova and Bertel Thorvaldsen are analysed and illustrated, as are earlier and later manifestations of the same aesthetic in French Parnassian poetry, in Satie’s setting of Plato, and in the ancient collection of sympotic poetry known as the Anacreontea. Fitzgerald describes the potential challenge of a neoclassical aesthetics of simplicity and ‘whiteness’, and its tendencies to corruption. He characterizes the lingering presence of this version of antiquity as a ‘living death’.
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50

Villa Lontana: Una dimora nobilitata da Poniatowski, Canova e Thorvaldsen. Torino: Umberto Allemandi & C., 2013.

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