Sculpture, 1900-45

Sculpture, 1900-45 : After Rodin

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Description

This book provides a comprehensive analysis of the significant growth of sculpture as an artistic form in Europe and America from 1900-1945. Using a clearly-defined thematic structure it identifies key issues and developments throughout this important period in the history of art. Individual chapters cover: public sculpture, the monument, the object, image-making, the built environment, the figurative ideal, and different materials. These themes broadly reflect the changing cultural and political climate of a turbulent period which included two world wars, each preceded by widespread rising nationalism. The practice of sculpture is considered within the wider artistic context of painting and architecture and the development of international art markets. Auguste Rodin, whose ground-breaking exhibition opened in Paris in 1900, serves as the book's point of departure, and as a recurrent point of reference.show more

Product details

  • Paperback | 298 pages
  • 148.6 x 214.1 x 18.5mm | 358.34g
  • Oxford University Press
  • Oxford Paperbacks
  • Oxford, United Kingdom
  • English
  • numerous colour and black and white halftones
  • 0192842285
  • 9780192842282

About Penelope Curtis

Penelope Curtis is Curator at the Henry Moore Institute in Leeds, England. She has published studies of Oto Gutfreund, E. A. Bourdelle, Barbara Hepworth, Julio Gonzalez and twentieth-century British sculpture, and written catalogue essays for a number of contemporary artists.show more

Table of contents

Chapter 1. The Public Place of Sculpture; Cityscape; urban planning; world's fairs and universal exhibitions; hierarchy of labour; working with architects; art nouveau; art deco; cemetery; war graves; ensembles; Chapter 2. The Tradition of the Monument; Statuemania; form; site and process; nationalisms; authoritarianism; changing parameters; Chapter 3. Direct Expression through the Material; Reaction to industrialisation; honesty and authenticity; modelling versus carving; sources; reciprocity; new orthodoxy; sites; assistance; speed; assemblage; inter-disciplinary; Chapter 4. The Private Arena: The possibilities of painting, pictorialism and the spatial environment; Rodin; private space; fixing change; photography; painterliness; painting's means and subjects; relief and collage; the group ethic; Paris 1930; neo-plasticism; Chapter 5. The Object: Function, Invitation and Interaction; The object; the readymade; anti-function and instruction; presentation; literature; absence, image, need; Dali and the Surrealist Object; the involuntary object; taking over the interior; taking over the ground; Chapter 6. A Shared Ideal: Building a New Environment; Art & Craft; Art & Industry; synthesis; team-work; Bauhaus and VKhUTEMAS; teaching; production; laboratory; theatre; exhibitions; architecture; Chapter 7. The Figurative Ideal; After Rodin; simplification; archaism; figural types, heavy and light; anonymity; luxury and leisure; classical themes; nationalisms; celebratory body; monumental body; loss of ideal; Conclusion; Notes; List of Illustrations; Bibliographic Essay; Timeline; Indexshow more

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