Title: The Marble Index: Roubiliac and Sculptural ...
Publisher: Paul Mellon Centre BA
Book Condition: New
Exploring the relationship with painted portraits, conventions, settings, sitting, making and multiple production, this book argues that the new centrality and aesthetic ambition of the sculptural portrait were informed by Enlightenment notions of perception and selfhood. Series: The Paul Mellon Centre for Studies in British Art. Num Pages: 420 pages, 100 color + 300 b/w illus. BIC Classification: 1DBK; 3JF; ACQ; AFKB; AGHF. Category: (G) General (US: Trade). Dimension: 240 x 284 x 34. Weight in Grams: 2130. . 2015. Hardcover. . . . . Books ship from the US and Ireland. Bookseller Inventory # V9780300204346
Synopsis: Providing the first thorough study of sculptural portraiture in 18th-century Britain, this important book challenges both the idea that portrait necessarily implies painting and the assumption that Enlightenment thought is manifest chiefly in French art. By considering the bust and the statue as genres, Malcolm Baker, a leading sculpture scholar, addresses the question of how these seemingly traditional images developed into ambitious forms of representation within a culture in which many core concepts of modernity were being formed. The leading sculptor at this time in Britain was Louis Francois Roubiliac (1702–1762), and his portraits of major figures of the day, including Alexander Pope, Isaac Newton, and George Frederic Handel, are examined here in detail. Remarkable for their technical virtuosity and visual power, these images show how sculpture was increasingly being made for close and attentive viewing. The Marble Index eloquently establishes that the heightened aesthetic ambition of the sculptural portrait was intimately linked with the way in which it could engage viewers familiar with Enlightenment notions of perception and selfhood.
Product Description: The first wide-ranging study of sculptural portraiture in eighteenth-century Britain, this book examines the significance of the bust and the statue as modes of representation within that culture. Adding a missing dimension to accounts of eighteenth-century British culture, Malcolm Baker explores how these images, seemingly so traditional in their conventions and associations, developed into such ambitious forms within a society in which many of the components of modernity were being fashioned. Exploring the relationship with painted portraits, conventions, settings, sitting, making and multiple production, the book argues that the new centrality and aesthetic ambition of the sculptural portrait were informed by Enlightenment notions of perception and selfhood. Louis Francois Roubiliac plays a central role, producing portraits of British Enlightenment figures such as Newton, Pope, Handel and Garrick, whose busts are discussed in the second part. Remarkable for their vivacity, virtuosity and power, these images show the traditional genres of the bust and statue being reconfigured for close and attentive viewing in what was becoming a modern culture.
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