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.
{"title":"The art of stucco in southern Portugal: morphologies, value judgements and the prejudice of conservation","authors":"Patricia Monteiro","doi":"10.3828/sj.2023.32.4.07","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.07","url":null,"abstract":"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.","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":"138625914","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 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.
{"title":"Valuing sculpture in the long eighteenth century: materials and technology","authors":"M. G. Sullivan","doi":"10.3828/sj.2023.32.4.02","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.02","url":null,"abstract":"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.","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":"138616057","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 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。
{"title":"Valuing ornament: Jean-Baptiste Plantar (1790–1879) between art, craft and industry","authors":"Justine Gain","doi":"10.3828/sj.2023.32.4.06","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.06","url":null,"abstract":"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.","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":"138620094","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 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.
{"title":"‘Peculiarly fit for statues’: the contribution of Coade’s fired artificial stone to sculpture in the eighteenth century","authors":"Caroline Stanford","doi":"10.3828/sj.2023.32.4.03","DOIUrl":"https://doi.org/10.3828/sj.2023.32.4.03","url":null,"abstract":"\u0000 This article considers the enduring ‘value’ of Coade stone as artefact. Using insights from Alois Riegl’s\u0000 The Modern Cult of Monuments\u0000 , 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.\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":"138627231","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}
{"title":"‘This sculptor is a cop’: John Reginald Abbott, murder in Montreal and the Royal Canadian Mounted Police’s criminal identification masks","authors":"Jamie Jelinski","doi":"10.3828/sj.2023.32.3.05","DOIUrl":"https://doi.org/10.3828/sj.2023.32.3.05","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135306405","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 investigates a statue of Victor Hugo that has been largely forgotten, but that enjoyed a certain degree of fame in Paris at the end of the nineteenth century. It was the work of Frédéric-Louis-Désiré Bogino (1831–99), a little-known artist who produced this monument at the end of his career. Although the plaster statue was first unveiled at the 1884 Salon des artistes français, it became an ephemeral memorial after Hugo’s death in May 1885 when it was exhibited on the route of his funeral procession. Through unpublished documents, rare photographs and numerous testimonies, this article reintegrates Bogino’s now disappeared statue into Victor Hugo’s iconography, and repositions it in the context of the slow gestation of commemorative monuments dedicated to the famed French writer.
{"title":"Les <i>Feuilles d’automne</i> , or the peregrinations of a forgotten statue of Victor Hugo","authors":"Emmanuel Lamouche","doi":"10.3828/sj.2023.32.3.04","DOIUrl":"https://doi.org/10.3828/sj.2023.32.3.04","url":null,"abstract":"This article investigates a statue of Victor Hugo that has been largely forgotten, but that enjoyed a certain degree of fame in Paris at the end of the nineteenth century. It was the work of Frédéric-Louis-Désiré Bogino (1831–99), a little-known artist who produced this monument at the end of his career. Although the plaster statue was first unveiled at the 1884 Salon des artistes français, it became an ephemeral memorial after Hugo’s death in May 1885 when it was exhibited on the route of his funeral procession. Through unpublished documents, rare photographs and numerous testimonies, this article reintegrates Bogino’s now disappeared statue into Victor Hugo’s iconography, and repositions it in the context of the slow gestation of commemorative monuments dedicated to the famed French writer.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135305828","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}
{"title":"Phyllida Barlow: a personal appreciation","authors":"Penelope Curtis","doi":"10.3828/sj.2023.32.3.07","DOIUrl":"https://doi.org/10.3828/sj.2023.32.3.07","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135306764","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}
{"title":"Ancient sculpture, modern production: Coade Stone’s Britannia and River God","authors":"Nicole Cochrane","doi":"10.3828/sj.2023.32.3.03","DOIUrl":"https://doi.org/10.3828/sj.2023.32.3.03","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135306406","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}
{"title":"Plaster casts for originals: Franco-Ottoman diplomacy regarding the Winged Victory of Samothrace from 1863 to 1891","authors":"Milena Gallipoli","doi":"10.3828/sj.2023.32.3.02","DOIUrl":"https://doi.org/10.3828/sj.2023.32.3.02","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135305588","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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