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 0.3 3区 艺术学 0 ART Sculpture Journal Pub Date : 2023-12-01 DOI:10.3828/sj.2023.32.4.04
Rebecca Wade
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引用次数: 0

摘要

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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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.
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0.10
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32
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Review Valuing sculpture in the long eighteenth century: materials and technology The Young Naturalist by Henry Weekes: intermediality, industry and international exhibitions Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris Valuing ornament: Jean-Baptiste Plantar (1790–1879) between art, craft and industry
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