Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0019
- Subject:
- Religion, Religion and Society
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to ...
More
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.Less
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.
Sharon Hecker
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520294486
- eISBN:
- 9780520967564
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294486.003.0010
- Subject:
- Art, Art History
This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker ...
More
This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H. W. Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death. In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso. Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied. Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.Less
This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H. W. Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death. In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso. Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied. Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.
Nigel Saul
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199215980
- eISBN:
- 9780191710001
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215980.003.0004
- Subject:
- History, History of Religion
This chapter argues that the production of funerary sculpture should be regarded as one of the most important stone-related industries in medieval England. For the most part, the production of ...
More
This chapter argues that the production of funerary sculpture should be regarded as one of the most important stone-related industries in medieval England. For the most part, the production of sculpted monuments appears to have been undertaken at quarries, although in some parts of England before the 14th century travelling sculptors may have been active. In the 15th century a vigorous industry in the production of alabaster monuments was based at Chellaston, near Derby. The evidence suggests that only the engraving of brasses was based in towns, perhaps because of the engravers' dependence on imported latten.Less
This chapter argues that the production of funerary sculpture should be regarded as one of the most important stone-related industries in medieval England. For the most part, the production of sculpted monuments appears to have been undertaken at quarries, although in some parts of England before the 14th century travelling sculptors may have been active. In the 15th century a vigorous industry in the production of alabaster monuments was based at Chellaston, near Derby. The evidence suggests that only the engraving of brasses was based in towns, perhaps because of the engravers' dependence on imported latten.
I.S. GLASS
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780199550258
- eISBN:
- 9780191718700
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199550258.003.0008
- Subject:
- Physics, History of Physics
This chapter begins by providing a brief description of Harlow Shapley's biography and early life. It then discusses Harlow's life as a student of the University of Missouri and Princeton. It ...
More
This chapter begins by providing a brief description of Harlow Shapley's biography and early life. It then discusses Harlow's life as a student of the University of Missouri and Princeton. It narrates his study with Henry Norris Russell about the discovery of approximate mathematical methods for analysing the behaviour of binary stars. It tells of Shapley's efforts to make himself known in other places. It mentions Shapley's other important works such as his guess that RR Lyrae variables might also be standard candles, the distances of the globular clusters, the discovery of the centre of the Milky Way, and finding the Sculptor and Fornax dwarf galaxies. It also tells of the criticisms and oppositions that he encountered.Less
This chapter begins by providing a brief description of Harlow Shapley's biography and early life. It then discusses Harlow's life as a student of the University of Missouri and Princeton. It narrates his study with Henry Norris Russell about the discovery of approximate mathematical methods for analysing the behaviour of binary stars. It tells of Shapley's efforts to make himself known in other places. It mentions Shapley's other important works such as his guess that RR Lyrae variables might also be standard candles, the distances of the globular clusters, the discovery of the centre of the Milky Way, and finding the Sculptor and Fornax dwarf galaxies. It also tells of the criticisms and oppositions that he encountered.
Carol Bonomo Jennngs and Christine Palamidessi Moore
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780823231751
- eISBN:
- 9780823241286
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823231751.003.0027
- Subject:
- Literature, American, 20th Century Literature
Concetta Scaravaglione was a critically acclaimed American sculptor. Among the awards and grants she received were major commissions from the Federal Art Project in the 1930s, a grant from the ...
More
Concetta Scaravaglione was a critically acclaimed American sculptor. Among the awards and grants she received were major commissions from the Federal Art Project in the 1930s, a grant from the American Academy of Arts and Letters, and the Prix de Rome award from the American Academy, the first such award to be given to a woman. During the early 1920s, Scaravaglione had a love affair with a fellow art student that ended badly. The disruption it caused to her art helped shape her lifelong conviction: she would never marry. Scaravaglione was elected to membership in the New York Society of Women Artists, a group of thirty painters and sculptors. Scaravaglione said, “To sculpture I am grateful for enjoyment and for an opportunity to be free and independent, to create to the extent of my capacities.”Less
Concetta Scaravaglione was a critically acclaimed American sculptor. Among the awards and grants she received were major commissions from the Federal Art Project in the 1930s, a grant from the American Academy of Arts and Letters, and the Prix de Rome award from the American Academy, the first such award to be given to a woman. During the early 1920s, Scaravaglione had a love affair with a fellow art student that ended badly. The disruption it caused to her art helped shape her lifelong conviction: she would never marry. Scaravaglione was elected to membership in the New York Society of Women Artists, a group of thirty painters and sculptors. Scaravaglione said, “To sculpture I am grateful for enjoyment and for an opportunity to be free and independent, to create to the extent of my capacities.”
Jana Evans Braziel
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812742
- eISBN:
- 9781496812780
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812742.003.0001
- Subject:
- Sociology, Culture
This introductory chapter provides an overview of the Grand Rue sculptors. Although not formally trained in high-art institutions, the Grand Rue sculptors are highly autodidactic, self-aware, and ...
More
This introductory chapter provides an overview of the Grand Rue sculptors. Although not formally trained in high-art institutions, the Grand Rue sculptors are highly autodidactic, self-aware, and fully mindful artists who are cognizant of art traditions—Haitian, US, African, and European—and their self-designed locations and locatedness within these traditions. The chapter then presents three central, interrelated theses: the first thesis is social and asserts that the artist collective is the product of historical, economic, political, geographic, and complex fields of cultural circumstance, literally “produced” in, of, and from Haiti; the second thesis is art historical and contends that the artists “produce” art that reflects and reproduces Haitianness even as they simultaneously participate in artistic self-technologization; and the third thesis is urban geographic and asserts that the artists aesthetically “produce” Port-au-Prince and an artistic right to the city.Less
This introductory chapter provides an overview of the Grand Rue sculptors. Although not formally trained in high-art institutions, the Grand Rue sculptors are highly autodidactic, self-aware, and fully mindful artists who are cognizant of art traditions—Haitian, US, African, and European—and their self-designed locations and locatedness within these traditions. The chapter then presents three central, interrelated theses: the first thesis is social and asserts that the artist collective is the product of historical, economic, political, geographic, and complex fields of cultural circumstance, literally “produced” in, of, and from Haiti; the second thesis is art historical and contends that the artists “produce” art that reflects and reproduces Haitianness even as they simultaneously participate in artistic self-technologization; and the third thesis is urban geographic and asserts that the artists aesthetically “produce” Port-au-Prince and an artistic right to the city.
Jana Evans Braziel
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812742
- eISBN:
- 9781496812780
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812742.003.0006
- Subject:
- Sociology, Culture
This chapter assesses the concept of faux-dou, in contrast to the dominant framing of the art collective under the signs and symbols of Vodou. While actively resisting the art-historical reduction of ...
More
This chapter assesses the concept of faux-dou, in contrast to the dominant framing of the art collective under the signs and symbols of Vodou. While actively resisting the art-historical reduction of the Grand Rue collective as merely productive of Vodou arts inspired by the lwas or spirits, Jean Hérard Celeur nevertheless does incorporate Vodou elements, but he does so in an ecstatic, métis (or mixed) fusion. Faux-dou, then, may be defined as a sort of “faux” Vodou or the artificial imposition or strategic marketing of the Grand Rue sculptors as “Vodou” artists: it functions, thus, as a sort of gallerist shorthand or even a facile fabrication that obscures the myriad, eclectic influences on the artists, particularly on Celeur and his wildly eclectic sculptures that are amalgams of aesthetic styles.Less
This chapter assesses the concept of faux-dou, in contrast to the dominant framing of the art collective under the signs and symbols of Vodou. While actively resisting the art-historical reduction of the Grand Rue collective as merely productive of Vodou arts inspired by the lwas or spirits, Jean Hérard Celeur nevertheless does incorporate Vodou elements, but he does so in an ecstatic, métis (or mixed) fusion. Faux-dou, then, may be defined as a sort of “faux” Vodou or the artificial imposition or strategic marketing of the Grand Rue sculptors as “Vodou” artists: it functions, thus, as a sort of gallerist shorthand or even a facile fabrication that obscures the myriad, eclectic influences on the artists, particularly on Celeur and his wildly eclectic sculptures that are amalgams of aesthetic styles.
Jana Evans Braziel
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812742
- eISBN:
- 9781496812780
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812742.003.0007
- Subject:
- Sociology, Culture
This chapter studies the postprimitivist altermodern styles—visually and sculpturally—and the eclectic, communal performances exhibited at the 2009 and 2011 Ghetto Biennales curated by Leah Gordon ...
More
This chapter studies the postprimitivist altermodern styles—visually and sculpturally—and the eclectic, communal performances exhibited at the 2009 and 2011 Ghetto Biennales curated by Leah Gordon and hosted by the Grand Rue sculptors at the E Pluribus Unum Musée d'Art. The biennials were groundbreaking international art events that were more antibiennial than biennial proper: they were alter/altar art exhibits held at the Grand Rue Galerie in Port-au-Prince, or in the self-stylized and sardonically punchy “ghetto.” The Ghetto Biennale was not only a dramatic and democratic experiment in artistic form, genre, style, and mode of exhibition but also a purposive and political disruption of the classical biennials that present “the best of” in cities across the globe. That the Ghetto Biennale was held at the Grand Rue Galerie in and of itself constituted a radical disruption of the norm in the art world.Less
This chapter studies the postprimitivist altermodern styles—visually and sculpturally—and the eclectic, communal performances exhibited at the 2009 and 2011 Ghetto Biennales curated by Leah Gordon and hosted by the Grand Rue sculptors at the E Pluribus Unum Musée d'Art. The biennials were groundbreaking international art events that were more antibiennial than biennial proper: they were alter/altar art exhibits held at the Grand Rue Galerie in Port-au-Prince, or in the self-stylized and sardonically punchy “ghetto.” The Ghetto Biennale was not only a dramatic and democratic experiment in artistic form, genre, style, and mode of exhibition but also a purposive and political disruption of the classical biennials that present “the best of” in cities across the globe. That the Ghetto Biennale was held at the Grand Rue Galerie in and of itself constituted a radical disruption of the norm in the art world.
John Baxter
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126012
- eISBN:
- 9780813135601
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126012.003.0022
- Subject:
- Film, Television and Radio, Film
Von Sternberg and Dietrich were creating a smoke screen to mask their true intentions. It was revealed a few weeks later when Dietrich abruptly refused to appear in the film in pushing the production ...
More
Von Sternberg and Dietrich were creating a smoke screen to mask their true intentions. It was revealed a few weeks later when Dietrich abruptly refused to appear in the film in pushing the production of The Songs of Songs. Dietrich plays Lily, an orphan peasant girl in braids and dirndl (shades of Dishonored), who comes to the city to live with her bookseller aunt. Richard, a penniless sculptor (Brian Aherne), asks her to pose for him. Inevitably they become lovers, and he creates a life-size nude statue, as stylized as an automobile hood ornament.Less
Von Sternberg and Dietrich were creating a smoke screen to mask their true intentions. It was revealed a few weeks later when Dietrich abruptly refused to appear in the film in pushing the production of The Songs of Songs. Dietrich plays Lily, an orphan peasant girl in braids and dirndl (shades of Dishonored), who comes to the city to live with her bookseller aunt. Richard, a penniless sculptor (Brian Aherne), asks her to pose for him. Inevitably they become lovers, and he creates a life-size nude statue, as stylized as an automobile hood ornament.
Alexander M. Schenker
- Published in print:
- 2003
- Published Online:
- October 2013
- ISBN:
- 9780300097122
- eISBN:
- 9780300128949
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300097122.001.0001
- Subject:
- History, Cultural History
This book is a comprehensive treatment of the most consequential work of art ever to be executed in Russia: the equestrian monument to Peter the Great, or The Bronze Horseman, as it has come to be ...
More
This book is a comprehensive treatment of the most consequential work of art ever to be executed in Russia: the equestrian monument to Peter the Great, or The Bronze Horseman, as it has come to be known since it appeared in Alexander Pushkin's poem bearing that title. The author deals with the cultural setting that prepared the ground for the monument and provides the life stories of those who were involved in its creation: the sculptors Etienne-Maurice Falconet and Marie-Anne Collot, the engineer Marin Carburi, the diplomat Dmitry Golitsyn, and Catherine's “commissar” for culture, Ivan Betskoi. He also touches upon the extraordinary resonance of the monument in Russian culture—since the unveiling in 1782, it has become the icon of St. Petersburg and has alimented the so-called “St. Petersburg theme” in Russian letters, familiar from the works of such writers as Pushkin, Dostoevsky, Gogol, and Bely.Less
This book is a comprehensive treatment of the most consequential work of art ever to be executed in Russia: the equestrian monument to Peter the Great, or The Bronze Horseman, as it has come to be known since it appeared in Alexander Pushkin's poem bearing that title. The author deals with the cultural setting that prepared the ground for the monument and provides the life stories of those who were involved in its creation: the sculptors Etienne-Maurice Falconet and Marie-Anne Collot, the engineer Marin Carburi, the diplomat Dmitry Golitsyn, and Catherine's “commissar” for culture, Ivan Betskoi. He also touches upon the extraordinary resonance of the monument in Russian culture—since the unveiling in 1782, it has become the icon of St. Petersburg and has alimented the so-called “St. Petersburg theme” in Russian letters, familiar from the works of such writers as Pushkin, Dostoevsky, Gogol, and Bely.
Eugene Halton
- Published in print:
- 2008
- Published Online:
- February 2013
- ISBN:
- 9780226314655
- eISBN:
- 9780226314679
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226314679.003.0009
- Subject:
- Sociology, Culture
This chapter describes the home, now a museum, of sculptor Wharton Esherick. In 1926 he built a studio up from his farmhouse, on the top of the hill called Mount Misery. Later he moved up the hill ...
More
This chapter describes the home, now a museum, of sculptor Wharton Esherick. In 1926 he built a studio up from his farmhouse, on the top of the hill called Mount Misery. Later he moved up the hill into the studio and added on to it over the course of his life. Esherick not only went to the woods as a source of inspiration but also to the essence of wood, devoting his life to the pursuit of his craft, living impoverished while influencing younger wood masters who were eventually lucky enough to make good money from their craft. He carved out an existence for himself and his family, winning some recognition for his work, but no real fame or fortune in his lifetime.Less
This chapter describes the home, now a museum, of sculptor Wharton Esherick. In 1926 he built a studio up from his farmhouse, on the top of the hill called Mount Misery. Later he moved up the hill into the studio and added on to it over the course of his life. Esherick not only went to the woods as a source of inspiration but also to the essence of wood, devoting his life to the pursuit of his craft, living impoverished while influencing younger wood masters who were eventually lucky enough to make good money from their craft. He carved out an existence for himself and his family, winning some recognition for his work, but no real fame or fortune in his lifetime.
Amy Helene Kirschke (ed.)
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9781628460339
- eISBN:
- 9781626740488
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628460339.001.0001
- Subject:
- History, African-American History
Female artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and ...
More
Female artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. This book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Chapters in first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.Less
Female artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. This book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Chapters in first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.
Alexander M. Schenker
- Published in print:
- 2003
- Published Online:
- October 2013
- ISBN:
- 9780300097122
- eISBN:
- 9780300128949
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300097122.003.0002
- Subject:
- History, Cultural History
This chapter describes the life and work of Etienne-Maurice Falconet. The discussions cover Falconet's work as sculptor of Madame de Pompadour; his association with Sèvres; his intellectual pursuits; ...
More
This chapter describes the life and work of Etienne-Maurice Falconet. The discussions cover Falconet's work as sculptor of Madame de Pompadour; his association with Sèvres; his intellectual pursuits; his friendship with Diderot, which resulted in an epistolary debate that has come to be known as Le pour et le contre; and his relationship with sculptress Marie-Anne Collot.Less
This chapter describes the life and work of Etienne-Maurice Falconet. The discussions cover Falconet's work as sculptor of Madame de Pompadour; his association with Sèvres; his intellectual pursuits; his friendship with Diderot, which resulted in an epistolary debate that has come to be known as Le pour et le contre; and his relationship with sculptress Marie-Anne Collot.
Nigel Spivey
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781474417099
- eISBN:
- 9781474426688
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474417099.003.0006
- Subject:
- Classical Studies, Ancient Greek, Roman, and Early Christian Philosophy
‘In the beginning, Homer was just a very good poet living in Ionia’ (Snodgrass 1998: 11). That premise is more controversial than perhaps it seems at first sight: if Homer appeared to his ...
More
‘In the beginning, Homer was just a very good poet living in Ionia’ (Snodgrass 1998: 11). That premise is more controversial than perhaps it seems at first sight: if Homer appeared to his contemporaries an extraordinary genius, a poet uniquely privileged with divine inspiration, then one might indeed argue that he directly catalysed the coming of Greek literacy, and the development of figure scenes in early Greek art.1 But suppose, for present purposes, that the reputation of an eighth-century BC Homer was local to Ionia, and that the poet died (as one legend had it)poor and obscure. So his genius was only recognised/created/celebrated later; and so ‘a very good poet’ became Homer the great founding father of Classical literature. How important was it that visible form was given to this transfiguration? We can argue about what Homer did for artists. What did artists do for ‘Homer’?Less
‘In the beginning, Homer was just a very good poet living in Ionia’ (Snodgrass 1998: 11). That premise is more controversial than perhaps it seems at first sight: if Homer appeared to his contemporaries an extraordinary genius, a poet uniquely privileged with divine inspiration, then one might indeed argue that he directly catalysed the coming of Greek literacy, and the development of figure scenes in early Greek art.1 But suppose, for present purposes, that the reputation of an eighth-century BC Homer was local to Ionia, and that the poet died (as one legend had it)poor and obscure. So his genius was only recognised/created/celebrated later; and so ‘a very good poet’ became Homer the great founding father of Classical literature. How important was it that visible form was given to this transfiguration? We can argue about what Homer did for artists. What did artists do for ‘Homer’?
Amanda Bidnall
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781786940032
- eISBN:
- 9781786944191
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940032.003.0005
- Subject:
- History, British and Irish Modern History
“Ronald Moody, from Primitive to Black British” offers the first thorough, academic account of this British sculptor’s career, work, and evolving ideology as he negotiated more than fifty years in ...
More
“Ronald Moody, from Primitive to Black British” offers the first thorough, academic account of this British sculptor’s career, work, and evolving ideology as he negotiated more than fifty years in the British and European art worlds. This research suggests that although Moody’s sculpture was—like that of so many artists of this generation—influenced by the experience of world war, European modernism, and decolonization, his reception by critics was dictated by the racial and imperial politics of the day. Whether he was exoticized as an exponent of Jamaican primitivism, praised as a Commonwealth artist, or hailed as a pioneer of Black British visual art, Moody’s dedication to universalism ranked him among the modernists of British sculpture.Less
“Ronald Moody, from Primitive to Black British” offers the first thorough, academic account of this British sculptor’s career, work, and evolving ideology as he negotiated more than fifty years in the British and European art worlds. This research suggests that although Moody’s sculpture was—like that of so many artists of this generation—influenced by the experience of world war, European modernism, and decolonization, his reception by critics was dictated by the racial and imperial politics of the day. Whether he was exoticized as an exponent of Jamaican primitivism, praised as a Commonwealth artist, or hailed as a pioneer of Black British visual art, Moody’s dedication to universalism ranked him among the modernists of British sculpture.
Shūji Tanaka
- Published in print:
- 2011
- Published Online:
- November 2016
- ISBN:
- 9780824834418
- eISBN:
- 9780824871239
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824834418.003.0012
- Subject:
- History, Asian History
This chapter discusses the history of modern Japanese sculpture from Edo to Meiji up to the postwar period. From the opening of Japan in the Meiji period, beginning in 1868, there had been ...
More
This chapter discusses the history of modern Japanese sculpture from Edo to Meiji up to the postwar period. From the opening of Japan in the Meiji period, beginning in 1868, there had been substantial changes in the art of sculpture in Japan that could be attributed to influences from the West. However, fresh trends had already been developing in the Edo period. This chapter begins by taking a look at Japan’s first sculptors and their works, such as bronze monuments. It then considers naturalism in Japanese sculpture, along with Auguste Rodin’s influence on Japanese sculptors like Ogiwara Morie. It also examines the establishment of academism and the development of wood sculpture as well as various phases in Japanese sculpture between the two world wars. Finally, it assesses Japanese sculpture from the Great Kantō Earthquake to World War II and the postwar era.Less
This chapter discusses the history of modern Japanese sculpture from Edo to Meiji up to the postwar period. From the opening of Japan in the Meiji period, beginning in 1868, there had been substantial changes in the art of sculpture in Japan that could be attributed to influences from the West. However, fresh trends had already been developing in the Edo period. This chapter begins by taking a look at Japan’s first sculptors and their works, such as bronze monuments. It then considers naturalism in Japanese sculpture, along with Auguste Rodin’s influence on Japanese sculptors like Ogiwara Morie. It also examines the establishment of academism and the development of wood sculpture as well as various phases in Japanese sculpture between the two world wars. Finally, it assesses Japanese sculpture from the Great Kantō Earthquake to World War II and the postwar era.
Stephanie J. Smith
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781469635682
- eISBN:
- 9781469635699
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469635682.003.0002
- Subject:
- History, Latin American History
Chapter 1 focuses on the founding of Mexico’s Communist Party in 1919, and the Party’s links to the influential national and international artistic movement active in Mexico throughout the 1920s. ...
More
Chapter 1 focuses on the founding of Mexico’s Communist Party in 1919, and the Party’s links to the influential national and international artistic movement active in Mexico throughout the 1920s. Although during these early years the Party’s official membership numbers remained relatively insignificant, this chapter argues that the extraordinary influence of these creative participants, both female and male, on the politics of the period was far from trivial. Art and politics intertwined as artists played major roles in political affairs, and government officials appropriated the arts to transmit the “official” national history.Less
Chapter 1 focuses on the founding of Mexico’s Communist Party in 1919, and the Party’s links to the influential national and international artistic movement active in Mexico throughout the 1920s. Although during these early years the Party’s official membership numbers remained relatively insignificant, this chapter argues that the extraordinary influence of these creative participants, both female and male, on the politics of the period was far from trivial. Art and politics intertwined as artists played major roles in political affairs, and government officials appropriated the arts to transmit the “official” national history.
S. C. Humphreys
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780198788249
- eISBN:
- 9780191830204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198788249.003.0007
- Subject:
- Classical Studies, European History: BCE to 500CE
The practice of slavery meant an absence of apprenticeship in ancient Greece: young men who lacked property and wanted work would rely on kinsmen to teach them a craft. This chapter examines training ...
More
The practice of slavery meant an absence of apprenticeship in ancient Greece: young men who lacked property and wanted work would rely on kinsmen to teach them a craft. This chapter examines training in skilled occupations, from poets, playwrights, sculptors, painters, potters, and musicians, to doctors and philosophers, as well as slave families, loans to kin, and kin as guarantors.Less
The practice of slavery meant an absence of apprenticeship in ancient Greece: young men who lacked property and wanted work would rely on kinsmen to teach them a craft. This chapter examines training in skilled occupations, from poets, playwrights, sculptors, painters, potters, and musicians, to doctors and philosophers, as well as slave families, loans to kin, and kin as guarantors.
