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Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris 制造魔法:路易十四时期巴黎的安托万-贝努瓦(Antoine Benoist)蜡像廷臣
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.08
David Mark Mitchell
Antoine Benoist’s Cercle royal was an exhibition of life-size wax figures on display in Louis XIV’s Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the Cercle royal’s initial recognition, beginning in the 1660s, when the exhibition centred on French royalty’s courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist’s wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture’s reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude.
安托万·贝诺伊斯特的《皇家圆圈》是路易十四时期巴黎展出的真人大小的蜡像展览。在展览本身没有现存物品的情况下,本文将重点放在证明其接受的来源语料库上。它集中于17世纪60年代开始的皇家圆圈最初的认可,当时展览以法国皇室的宫廷随从为中心。Benoist的蜡像或被誉为生动的奇迹,或被嘲笑为欺骗性的琐碎,为考虑这个时代的雕塑工艺和展示礼仪问题提供了一个信息问题的案例。在追踪蜡像接受的不和谐,这篇文章表明,手工地位的棘手问题是嵌入在美学辩论的幻觉真实性。
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引用次数: 0
‘Wider than the realm of England’: the Hosack family heritage, Atlantic slavery and casting Mary, Queen of Scots for the nation 比英格兰国土更广阔":霍萨克家族的遗产、大西洋奴隶制以及为国家塑造苏格兰女王玛丽
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.05
Liberty Paterson
In 1871 the Scottish-born magistrate John Hosack (1809–87) was described as ‘the chivalrous and most recent defender’ of Mary, Queen of Scots. After writing a popular historical account of her life, he had presented a plaster cast bust of her Westminster effigy to London’s National Portrait Gallery, which it then used to create an electrotype sculpture with the help of Elkington & Co. This article interrogates the ‘value’ of this sculpture as a cultural heritage object by retracing its history. It places Hosack’s desire to replicate and commemorate Scottish heritage alongside his family ties to Jamaica, including the parallel life of his half-brother William and the wealth John derived from his father’s sugar profits, which relied on African enslavement. It argues the importance of understanding how such legacies enabled individuals to participate in cultural philanthropy in the Victorian period, which simultaneously distanced them from their Atlantic pasts. It also considers how, in its transformation into an electrotype, Hosack’s cast became part of a wider effort by museums and galleries to replicate national heritage using manufacturing methods indebted to the industrial economy intertwined with the British Empire. Sculpture offered a powerful medium through which to fortify national history, but its commemorative capacity can, and should, be unpicked to better understand British legacies of enslavement and colonialism.
1871年,苏格兰出生的地方法官约翰·霍萨克(John Hosack, 1809 - 1887)被描述为苏格兰女王玛丽的“骑士和最近的捍卫者”。在写了一篇关于她生活的通俗历史报道之后,他向伦敦国家肖像画廊(National Portrait Gallery)赠送了一尊她在威斯敏斯特的石膏半身像,然后在Elkington & Co的帮助下,它被用来制作一个电印雕塑。这篇文章通过追溯它的历史,来质疑这个雕塑作为文化遗产的“价值”。这本书将霍萨克复制和纪念苏格兰传统的愿望与他与牙买加的家庭关系放在一起,包括他同父异母的兄弟威廉的平行生活,以及约翰从他父亲依赖非洲奴役的糖业利润中获得的财富。它认为,理解这些遗产是如何使个人参与维多利亚时期的文化慈善事业的重要性,这同时使他们远离了大西洋的过去。它还考虑了霍萨克的铸件在转变为电铸的过程中,如何成为博物馆和画廊更广泛努力的一部分,这些博物馆和画廊利用与大英帝国交织在一起的工业经济的制造方法来复制国家遗产。雕塑为巩固国家历史提供了一种强有力的媒介,但为了更好地理解英国的奴役和殖民主义遗产,它的纪念能力可以、也应该被取消。
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引用次数: 0
The Young Naturalist by Henry Weekes: intermediality, industry and international exhibitions 亨利-威克斯(Henry Weekes)的《青年博物学家》:跨媒介性、工业和国际展览
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.04
Rebecca Wade
The Young Naturalist by Henry Weekes (1807–77) was first presented in plaster at the Royal Academy of Arts in 1854. Beginning as an object located firmly in the domain of the fine arts through its modes of production and sites of display, the sculpture encountered industry through a series of international exhibitions in Paris, London and Manchester during the 1850s and 1860s. Not only was the work in proximity to industrial objects, processes and collectors, it was fundamentally transformed by them, resulting in a collaboration between Weekes and the Birmingham-based manufacturer Elkington & Co. This article charts the changing status of sculpture and labour in the second half of the nineteenth century, with its increasing visibility and availability to new markets through both emerging and established technologies of reproduction.
1854年,亨利·威克斯(Henry Weekes, 1807-77)的《年轻的博物学家》首次以石膏形式在皇家艺术学院展出。在19世纪50年代和60年代,雕塑在巴黎、伦敦和曼彻斯特举办的一系列国际展览中与工业接触,通过其生产方式和展示场所,雕塑开始被牢牢地定位在美术领域。作品不仅接近工业对象、工艺和收藏家,而且从根本上改变了它们,导致Weekes与伯明翰制造商Elkington & Co之间的合作。这篇文章描绘了19世纪下半叶雕塑和劳动的变化状态,通过新兴和成熟的复制技术,雕塑和劳动的可见度和可用性越来越高。
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引用次数: 0
Review 评论
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.09
Jennifer Dudley
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引用次数: 0
Valuing sculpture: art, craft and industry, 1660–1860 雕塑估价:1660-1860 年的艺术、手工艺和工业
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.01
Samantha Lukic-Scott, Charlotte Davis
Responding to the many useful and intriguing discussions that arose over the two days of the ‘Valuing Sculpture: Art, Craft and Industry, 1660–1860’ conference held in July 2021, this special issue explores new directions for scholarly research. This introduction considers the usefulness of the classifications of art, craft and industry, and in doing so presents this collection’s methodology of expanding dialogues by reaching across medial, dimensional, geographical and categorical boundaries.
在2021年7月举行的为期两天的“雕塑估价:艺术、工艺和工业,1660-1860”会议上,出现了许多有用和有趣的讨论,对此,本期特刊探讨了学术研究的新方向。本引言考虑了艺术、工艺和工业分类的有用性,并在此过程中,通过跨越媒介、维度、地理和分类界限,展示了本作品集扩展对话的方法。
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引用次数: 0
The art of stucco in southern Portugal: morphologies, value judgements and the prejudice of conservation 葡萄牙南部的灰泥艺术:形态、价值判断和保护偏见
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.07
Patricia Monteiro
The Portuguese artistic production of stucco is part of a long tradition of decorative techniques that form part of a shared visual and cultural legacy in southern Europe. However, little is understood of local idiosyncrasies within this legacy. By focusing on stucco artworks in the peripheral area of Alentejo, away from the cultural capitals of Europe, this article explores the emergence of an original and distinct formal and functional interplay over the course of several centuries. This article re-evaluates the morphologies of Alentejo’s stucco sculptures and assesses the degree to which such morphologies express common artistic practices and constitute a distinct art form. Finally, the article identifies the deleterious ramifications that have arisen from such considerations not being taken account of during the conservation of these works.
葡萄牙的灰泥艺术生产是装饰技术悠久传统的一部分,构成了南欧共同视觉和文化遗产的一部分。然而,人们对这些遗产中的地方特质知之甚少。通过关注远离欧洲文化之都的阿连特茹周边地区的灰泥艺术品,本文探讨了几个世纪以来原始而独特的形式和功能相互作用的出现。本文重新评估了阿连特茹的灰泥雕塑的形态,并评估了这种形态在多大程度上表达了共同的艺术实践,并构成了一种独特的艺术形式。最后,文章指出了在保护这些作品的过程中,由于没有考虑到这些因素而产生的有害后果。
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引用次数: 0
Valuing sculpture in the long eighteenth century: materials and technology 十八世纪漫长时期的雕塑估价:材料与技术
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.02
M. G. Sullivan
In 1712 the sale catalogue of John Nost’s studio defined the value of sculpture as lying in the intrinsic value of materials, the performance of the artist, and the costs and complexity of sculptural production. This article looks at how these values of materials and making shifted over the course of the following 150 years through specific examples of materials – lead and granite – that gained and then lost value; and how production processes that streamlined sculptural production, notably James Tulloch’s marble works, were first celebrated and then seen as anathema to sculptural value. The article argues for the malleability of sculptural value systems in the long eighteenth century, and the need to understand sculptural value in materials and production in relation to economic and technological history.
1712年,约翰·诺斯特(John Nost)工作室的销售目录将雕塑的价值定义为材料的内在价值、艺术家的表现以及雕塑制作的成本和复杂性。本文通过具体的材料例子——铅和花岗岩——来考察这些材料和制作的价值是如何在接下来的150年里发生变化的,这些材料先是增值,然后又贬值;以及简化雕塑制作的生产过程,特别是詹姆斯·塔洛克的大理石作品,最初是如何受到欢迎的,然后被视为雕塑价值的诅咒。本文论证了雕塑价值体系在漫长的18世纪的延展性,以及理解与经济和技术历史相关的材料和生产中的雕塑价值的必要性。
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引用次数: 0
Valuing ornament: Jean-Baptiste Plantar (1790–1879) between art, craft and industry 重视装饰:让-巴蒂斯特-普朗塔尔(Jean-Baptiste Plantar,1790-1879 年):艺术、手工艺与工业之间的关系
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.06
Justine Gain
In the nineteenth century, as European countries reacted to industrialization, art and burgeoning industries intertwined in a myriad of new ways. From this union, several major changes occurred in building construction, decorative arts and sculpture. The career and oeuvre of Jean-Baptiste Plantar, French ornamentalist and sculptor des Bâtiments du Roi, illustrate the new relationships forged between traditional architectural patterns and industrial artistic production. Despite holding a central role in their establishment, Plantar has been largely unheeded both by his contemporaries and later writers. This article reasserts Plantar’s significance in the creation of a visual – essentially Parisian – landscape in the first half of the nineteenth century.
在19世纪,随着欧洲国家对工业化的反应,艺术和新兴工业以无数种新的方式交织在一起。从这次结合开始,在建筑、装饰艺术和雕塑方面发生了几次重大变化。Jean-Baptiste Plantar,法国装饰学家和雕刻家des batients du Roi的职业生涯和作品,说明了传统建筑模式和工业艺术生产之间形成的新关系。尽管在他们的建立中发挥了核心作用,但普兰塔在很大程度上没有受到同时代和后来的作家的注意。这篇文章重申了普兰塔在19世纪上半叶创造视觉上的重要性——本质上是巴黎的景观。
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引用次数: 0
‘Peculiarly fit for statues’: the contribution of Coade’s fired artificial stone to sculpture in the eighteenth century 特别适合雕像":科德烧制的人造石对十八世纪雕塑的贡献
IF 0.1 3区 艺术学 0 ART Pub Date : 2023-12-01 DOI: 10.3828/sj.2023.32.4.03
Caroline Stanford
This article considers the enduring ‘value’ of Coade stone as artefact. Using insights from Alois Riegl’s The Modern Cult of Monuments , it examines the contribution of fired artificial stone as a key enabler of the eighteenth-century passion for sculpture in Britain, as replicated sculptural forms entered interiors, gardens and architecture. This durable stoneware first crossed into statuary in the 1720s. From 1769, Eleanor Coade (1733–1821) became its figurehead, successfully positioning Coade stone as superior to natural stone. Formulation and production were collaborative processes dependent upon specialist, often overlooked fabricating skills. This article considers factors that led to the success of Coade stone, as well as its composition and production. It concludes with a brief case study of the Coade stone caryatids that Sir John Soane took as a personal motif.
本文探讨了科德石作为人工制品的持久“价值”。利用Alois Riegl的《现代纪念碑崇拜》的见解,它考察了烧制人造石作为18世纪英国雕塑热情的关键推动者的贡献,因为复制的雕塑形式进入室内,花园和建筑。这种耐用的石器在18世纪20年代首次用于雕塑。从1769年开始,埃莉诺·科德(Eleanor Coade, 1733-1821)成为该品牌的名义领袖,成功地将科德石定位为优于天然石材的品牌。配方和生产是依赖于专家的协作过程,经常被忽视的制造技能。本文考虑了导致科德石成功的因素,以及它的组成和生产。最后以约翰·索恩爵士作为个人主题的科德石雕女像的一个简短案例作为总结。
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引用次数: 0
‘This sculptor is a cop’: John Reginald Abbott, murder in Montreal and the Royal Canadian Mounted Police’s criminal identification masks “这个雕塑家是警察”:约翰·雷金纳德·阿博特,蒙特利尔谋杀案和加拿大皇家骑警的犯罪识别面具
3区 艺术学 0 ART Pub Date : 2023-09-16 DOI: 10.3828/sj.2023.32.3.05
Jamie Jelinski
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引用次数: 0
期刊
Sculpture Journal
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