In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.
{"title":"Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57","authors":"Jason Edwards, A. Harris, M. Sullivan","doi":"10.3828/SJ.2020.29.3.6","DOIUrl":"https://doi.org/10.3828/SJ.2020.29.3.6","url":null,"abstract":"\u0000In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"337-360"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45916882","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}
When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.
{"title":"Vegan attendance: reading Gibbons’s animals","authors":"E. Quinn","doi":"10.3828/SJ.2020.29.3.8","DOIUrl":"https://doi.org/10.3828/SJ.2020.29.3.8","url":null,"abstract":"\u0000When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"379-394"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46059170","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":"W. H. Thornycroft’s statue of Oliver Cromwell and the bitter waters of Babylon","authors":"Philip Ward-Jackson","doi":"10.3828/sj.2020.29.2.4","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.4","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"179-192"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48094712","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}
Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle epoque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.
{"title":"Inside sculptors’ studios in belle époque Brussels: an interior architectural view","authors":"Linda Van Santvoort, Marjan Sterckx","doi":"10.3828/sj.2020.29.2.5","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.5","url":null,"abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle epoque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"193-215"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45276699","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":"The Hispanic Society’s Resurrection relief, a Valencian work from the turn of the sixteenth century","authors":"Mercedes Gómez-Ferrer","doi":"10.3828/sj.2020.29.2.3","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.3","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"159-177"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44483561","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}
Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Judd’s rising reputation and fame in the United States in the second half of the 1960s, epitomized by the widely acclaimed solo shows at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in Pasadena California in 1971, have primarily shaped a picture of the artist’s early career as a predominantly American affair. In the light of the first US retrospective of Judd since his passing in 1994 at the Museum of Modern Art in New York, opening in March 2020, this essay aims to map the early exposure of Judd in Europe, and in the Netherlands in particular. Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low Countries.
对美国艺术家唐纳德·贾德(Donald Judd)的史学描述，以及对极简艺术的总体描述，主要集中在围绕他的作品在美国，尤其是在20世纪60年代中后期在纽约出现的争论上。1965年，贾德参加了瑞典斯德哥尔摩现代博物馆(Moderna Museet)的一场群展，直到1970年，他在荷兰埃因霍温的范阿贝博物馆(Van Abbemuseum)首次在欧洲举办个展，人们对他早期在欧洲的曝光情况知之甚少。贾德在20世纪60年代下半叶在美国名声鹊起，1968年在惠特尼美国艺术博物馆(Whitney Museum of American Art)和1971年在加州帕萨迪纳艺术博物馆(Pasadena Art Museum)举办的广受好评的个展是贾德的缩影，这主要塑造了他早期职业生涯主要是美国人的形象。自1994年贾德去世以来，他在美国的首次回顾展将于2020年3月在纽约现代艺术博物馆(Museum of Modern Art)开幕，鉴于此，本文旨在描绘贾德在欧洲，尤其是荷兰的早期曝光情况。根据比利时和荷兰档案中迄今未发表的材料，本文旨在批判性地描绘贾德在低地国家工作的早期曝光时刻。
{"title":"‘Not so much a line as a star’: Donald Judd in the Low Countries, 1965–71","authors":"W. Davidts","doi":"10.3828/sj.2020.29.2.6","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.6","url":null,"abstract":"Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherlands in 1970. Judd’s rising reputation and fame in the United States in the second half of the 1960s, epitomized by the widely acclaimed solo shows at the Whitney Museum of American Art in 1968 and the Pasadena Art Museum in Pasadena California in 1971, have primarily shaped a picture of the artist’s early career as a predominantly American affair. \u0000In the light of the first US retrospective of Judd since his passing in 1994 at the Museum of Modern Art in New York, opening in March 2020, this essay aims to map the early exposure of Judd in Europe, and in the Netherlands in particular. Based on hitherto unpublished material from archives in Belgium and The Netherlands, this essay intends to critically map the early moments of exposure of Judd’s work in the Low Countries.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"217-237"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982767","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 written history of Renaissance sculpture has encouraged us to see through gold surfaces. Attention trained to focus on the vehicle of ‘form’ can overlook gilding as skin deep. This is partly a consequence of the colour blindness of sculptural theory as it was developed in the later fifteenth and sixteenth century and of the way precious metalwork was excluded from a restricted definition of the arts of ‘disegno’. When, in 1775, the painter Anton Raphael Mengs approached Tuscany’s Grandduke for permission to remove brown varnish from the city’s Baptistery doors to reveal their gilding, he was rebuffed on the grounds that the gold surface was too fragile and that ‘even if the doors were of solid gold they would only be more beautiful to the eyes of the greedy, and more magnificent, but they would not satisfy a draughtsman/designer (disegnatore); just as an unpatinated bronze does not satisfy because of the false lights that confound one’s sight’.1 The disdain for gold
{"title":"The politics of the gilded body in early Florentine statuary","authors":"A. Wright","doi":"10.3828/sj.2020.29.2.2","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.2","url":null,"abstract":"The written history of Renaissance sculpture has encouraged us to see through gold surfaces. Attention trained to focus on the vehicle of ‘form’ can overlook gilding as skin deep. This is partly a consequence of the colour blindness of sculptural theory as it was developed in the later fifteenth and sixteenth century and of the way precious metalwork was excluded from a restricted definition of the arts of ‘disegno’. When, in 1775, the painter Anton Raphael Mengs approached Tuscany’s Grandduke for permission to remove brown varnish from the city’s Baptistery doors to reveal their gilding, he was rebuffed on the grounds that the gold surface was too fragile and that ‘even if the doors were of solid gold they would only be more beautiful to the eyes of the greedy, and more magnificent, but they would not satisfy a draughtsman/designer (disegnatore); just as an unpatinated bronze does not satisfy because of the false lights that confound one’s sight’.1 The disdain for gold","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"29 1","pages":"131-158"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44914746","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":"Editorial","authors":"Emma M. Payne, E. Foster, T. Kittler, E. Marchand","doi":"10.3828/sj.2020.29.2.1","DOIUrl":"https://doi.org/10.3828/sj.2020.29.2.1","url":null,"abstract":"","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49068347","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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