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 cultures that emanated from this expedition but offers alternative narratives and ways of recontextualizing both the expedition and Babb’s monument to the expedition party displayed in St Paul’s Cathedral.
{"title":"Looking south: making monuments to the British Antarctic Expedition","authors":"Isabelle Gapp","doi":"10.3828/sj.2024.33.2.15","DOIUrl":"https://doi.org/10.3828/sj.2024.33.2.15","url":null,"abstract":"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 cultures that emanated from this expedition but offers alternative narratives and ways of recontextualizing both the expedition and Babb’s monument to the expedition party displayed in St Paul’s Cathedral.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141232388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article uses decolonial methods to examine four monuments in St Paul’s Cathedral which are associated with the settler-colonial state of Canada. It also demonstrates strategies for Indigenizing the pantheon to reassert viewership beyond imperial narratives which have been inscribed into British and Canadian histories. The four monuments are George Edward Wade’s bust John A. Macdonald (c. 1881–92), Sir Richard Westmacott’s monument to Major-General Isaac Brock (c. 1815), Carlo Panati’s monument to John Hawley Glover (c. 1886–87), and Francis Derwent Wood’s monument to John Eardley Wilmot Inglis (1896). Through these monuments, the article wrestles with, and troubles, the mythos of ‘Canadian’ identity as written into settler-colonial narratives and the ongoing pressures of colonialism throughout Canada. Importantly, the article articulates Indigenous presences – the Shawnee, Inuit and Mi’kmaq – and perseverances at the core of each monument, and further demonstrates that the presence of Black refugees in Nova Scotia and the Hausa people of West Africa are key to understanding and witnessing these monuments in St Paul’s Cathedral.
{"title":"Imperial Canada as a training ground for empire","authors":"Katrina-Eve N. Manica","doi":"10.3828/sj.2024.33.2.04","DOIUrl":"https://doi.org/10.3828/sj.2024.33.2.04","url":null,"abstract":"This article uses decolonial methods to examine four monuments in St Paul’s Cathedral which are associated with the settler-colonial state of Canada. It also demonstrates strategies for Indigenizing the pantheon to reassert viewership beyond imperial narratives which have been inscribed into British and Canadian histories. The four monuments are George Edward Wade’s bust John A. Macdonald (c. 1881–92), Sir Richard Westmacott’s monument to Major-General Isaac Brock (c. 1815), Carlo Panati’s monument to John Hawley Glover (c. 1886–87), and Francis Derwent Wood’s monument to John Eardley Wilmot Inglis (1896). Through these monuments, the article wrestles with, and troubles, the mythos of ‘Canadian’ identity as written into settler-colonial narratives and the ongoing pressures of colonialism throughout Canada. Importantly, the article articulates Indigenous presences – the Shawnee, Inuit and Mi’kmaq – and perseverances at the core of each monument, and further demonstrates that the presence of Black refugees in Nova Scotia and the Hausa people of West Africa are key to understanding and witnessing these monuments in St Paul’s Cathedral.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141235212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers a number of monuments in St Paul’s Cathedral dedicated to soldiers and administrators who served in various parts of Central Africa during the British colonial period, namely Sir Bartle Frere (1815–84), Lord Robert Cornelis Napier (1810–90), Major Arthur Blyford Thruston (1865–97), Admiral Sir Harry Holdsworth Rawson (1843–1910) and Captain Sir John Hawley Glover (1829–85). It discusses the careers of these colonial agents in context, relating this, where appropriate, to the symbolic and material conditions of the monuments themselves. It considers the artists involved, their techniques of representation, and the architectural associations of the monumental form during the late nineteenth and early twentieth centuries. In conclusion, it suggests that the commemorative form represented in these monuments presents empire and imperial expansion as a modernizing enterprise.
{"title":"Colonial careerists in Central Africa, 1888–1913: a survey of monuments in St Paul’s Cathedral","authors":"G. A. Bremner","doi":"10.3828/sj.2024.33.2.11","DOIUrl":"https://doi.org/10.3828/sj.2024.33.2.11","url":null,"abstract":"This article considers a number of monuments in St Paul’s Cathedral dedicated to soldiers and administrators who served in various parts of Central Africa during the British colonial period, namely Sir Bartle Frere (1815–84), Lord Robert Cornelis Napier (1810–90), Major Arthur Blyford Thruston (1865–97), Admiral Sir Harry Holdsworth Rawson (1843–1910) and Captain Sir John Hawley Glover (1829–85). It discusses the careers of these colonial agents in context, relating this, where appropriate, to the symbolic and material conditions of the monuments themselves. It considers the artists involved, their techniques of representation, and the architectural associations of the monumental form during the late nineteenth and early twentieth centuries. In conclusion, it suggests that the commemorative form represented in these monuments presents empire and imperial expansion as a modernizing enterprise.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141231796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The introduction provides an overview of the special issue and situates it in the context of the AHRC research grant from which it originated and in the broader historiographic context of sculpture at St Paul’s Cathedral in the period from the arrival of the first quartet of monuments in the 1790s to the midst of the First World War. The introduction notes the comparative marginalization of sculpture studies at the cathedral, in comparison to studies of the architectural fabric of the building and its mosaic programmes, and of imperial sculpture within the broader scholarship on nineteenth-century British sculpture. The introduction lays out the variety of materials and genres of sculptural commemoration at St Paul’s, emphasizing the sculptural quality of the artists and artworks involved. It explores the particular place of slavery and abolition within the pantheon, and the way in which the pantheon ranges across the entirety of the British imperial world, from North America to South and Southeast Asia, from Australasia and Antarctica to Africa.
{"title":"The parish church of empire: sculpture and imperialism at St Paul’s Cathedral, c. 1796–1916","authors":"Jason Edwards","doi":"10.3828/sj.2024.33.2.01","DOIUrl":"https://doi.org/10.3828/sj.2024.33.2.01","url":null,"abstract":"The introduction provides an overview of the special issue and situates it in the context of the AHRC research grant from which it originated and in the broader historiographic context of sculpture at St Paul’s Cathedral in the period from the arrival of the first quartet of monuments in the 1790s to the midst of the First World War. The introduction notes the comparative marginalization of sculpture studies at the cathedral, in comparison to studies of the architectural fabric of the building and its mosaic programmes, and of imperial sculpture within the broader scholarship on nineteenth-century British sculpture. The introduction lays out the variety of materials and genres of sculptural commemoration at St Paul’s, emphasizing the sculptural quality of the artists and artworks involved. It explores the particular place of slavery and abolition within the pantheon, and the way in which the pantheon ranges across the entirety of the British imperial world, from North America to South and Southeast Asia, from Australasia and Antarctica to Africa.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141233221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article correlates James Augustus Grant’s (1827–92) career as an explorer and botanist with the imagery in his memorial in the crypt of St Paul’s. It highlights the fact that Barkentin & Krall’s depiction of the Nile marks a shift in iconography away from pyramids and sphinxes that coincided with Britain’s territorial expansion in Egypt and Sudan and an associated rise in tourism and travel to the region. It also demonstrates how this particular landscape prioritizes Grant’s botanical discoveries over his military career. The article thus usefully expands notions of empire in the St Paul’s pantheon to include scientific discovery and exploration as well as emphasizing the importance of botanical life in sculpture studies.
{"title":"Visualizing North Africa in Barkentin & Krall’s monument to James Augustus Grant","authors":"M. Hewitson","doi":"10.3828/sj.2024.33.2.10","DOIUrl":"https://doi.org/10.3828/sj.2024.33.2.10","url":null,"abstract":"This article correlates James Augustus Grant’s (1827–92) career as an explorer and botanist with the imagery in his memorial in the crypt of St Paul’s. It highlights the fact that Barkentin & Krall’s depiction of the Nile marks a shift in iconography away from pyramids and sphinxes that coincided with Britain’s territorial expansion in Egypt and Sudan and an associated rise in tourism and travel to the region. It also demonstrates how this particular landscape prioritizes Grant’s botanical discoveries over his military career. The article thus usefully expands notions of empire in the St Paul’s pantheon to include scientific discovery and exploration as well as emphasizing the importance of botanical life in sculpture studies.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141234294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris","authors":"David Mark Mitchell","doi":"10.3828/sj.2023.32.4.08","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.08","url":null,"abstract":"\u0000 Antoine Benoist’s\u0000 Cercle royal\u0000 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\u0000 Cercle royal’s\u0000 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.\u0000","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"‘Wider than the realm of England’: the Hosack family heritage, Atlantic slavery and casting Mary, Queen of Scots for the nation","authors":"Liberty Paterson","doi":"10.3828/sj.2023.32.4.05","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.05","url":null,"abstract":"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.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138622963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"The Young Naturalist\u0000 by Henry Weekes: intermediality, industry and international exhibitions","authors":"Rebecca Wade","doi":"10.3828/sj.2023.32.4.04","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.04","url":null,"abstract":"\u0000 The Young Naturalist\u0000 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.\u0000","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138616494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Valuing sculpture: art, craft and industry, 1660–1860","authors":"Samantha Lukic-Scott, Charlotte Davis","doi":"10.3828/sj.2023.32.4.01","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.01","url":null,"abstract":"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.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138621618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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