Rome, Travel and the Sculpture Capital, c.1770-1825

Neuauflage 2016
ISBN: 978-1-4724-2035-0
Verlag: Taylor & Francis Ltd

Buch, Englisch, 294 Seiten, Format (B × H): 241 mm x 164 mm, Gewicht: 760 g

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention.

Rome, Travel and the Sculpture Capital, c.1770–1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

Autoren/Hrsg.

Macsotay, Tomas

Fachgebiete

• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Bildhauerei, Plastik, Denkmäler
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttechniken & Prinzipien
• Geisteswissenschaften Kunst Kunstgeschichte

Inhaltsverzeichnis

Contents:

List of Illustrations
List of Contributors
Acknowledgments

Introduction: ‘Close up and Far Away’
Tomas Macsotay

Part I
A Space for Encounters

1 Restoring and Making Sculpture in Eighteenth-Century Rome: A Shared Practice
Chiara Piva

2 Promoting Sculpture in Eighteenth-Century Rome: Exhibitions, Art Criticism, Public
Susanne Adina Meyer

3 Bringing Modern Rome to Chatsworth: The Formation of the 6th Duke of Devonshire’s Sculpture Collection
Alison Yarrington

Part II
Close to Canova

4 Truly Transnational? Sculpture Studios in Rome after the Restoration
Christina Ferando

5 In the Shadow of the Star: Career Strategies of Sculptors in Rome in the Age of Canova (c.1780–1820)
Daniella Gallo

6 Canova and his German Friends
Johannes Myssok

Part III
Distance and Difference

7 Multiple Views, Contours and Sculptural Narration: Aesthetic Notions of Neoclassical Sculpture in and out of Rome
Roland Kanz

8 Sculptor and Tourist: John Flaxman and His Italian Journals and Sketchbooks (1787–1794)
Eckart Marchand

9 Struggle and the Memorial Relief: John Deare’s Caesar Invading Britain
Tomas Macsotay

10 The Sculptor, the Duke, and Queer Art Patronage: John Gibson’s Mars Restrained by Cupid and Winckelmannian Aesthetics
Roberto C. Ferrari

Bibliography
Index

Über Autor(innen)

Tomas Macsotay is a Ramón y Cajal Research Fellow at the Universitat Pompeu Fabra, Barcelona. He is the author of The Profession of Sculpture in the Paris Académie (2014) and the co-editor of Morceaux. Die bildhauerischen Aufnahmestücke europäischer Kunstakademien im 18. und 19. Jahrhundert (2016).