{"title":"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","authors":"Rebecca Wade","doi":"10.3828/sj.2023.32.4.04","DOIUrl":null,"url":null,"abstract":"\n The Young Naturalist\n 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.\n","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Young Naturalist\\n by Henry Weekes: intermediality, industry and international exhibitions\",\"authors\":\"Rebecca Wade\",\"doi\":\"10.3828/sj.2023.32.4.04\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n The Young Naturalist\\n 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.\\n\",\"PeriodicalId\":21666,\"journal\":{\"name\":\"Sculpture Journal\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Sculpture Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3828/sj.2023.32.4.04\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Sculpture Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3828/sj.2023.32.4.04","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
The Young Naturalist
by Henry Weekes: intermediality, industry and international exhibitions
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.