Classical sculpture and the culture of collecting in Britain since 1760
Sculpture, Classical Fine Arts Mead Art Building Sculpture History sähkökirjat
Oxford University Press
2009
EISBN 9780191568251
Introduction: Lord Lansdowne's Wounded Amazon.
'The loving labours of a learned German': Adolf Michaelis and the historiography of classical sculpture in Britain.
'The spoils of Roman grandeur': correspondence collecting and the market in Rome.
The operations of sculpture: (Re) writing restoration.
Collecting and global politics: the export of marbles from Rome and their transport to Britain.
"The lecture on Venus's arse: Richard Cosway's Charles Townley with a group of connoisseurs, c.1771-5.
'Placed with propriety': the display and viewing of ancient sculpture.
'Casting a lustful eye': Charles Townley as collector and cataloguer.
Conclusion: Joseph Nollekens' The judgement of Paris.
This is a book about classical sculptures in the early modern period, centuries after the decline and fall of Rome, when they began to be excavated, restored, and collected by British visitors in Italy in the second half of the eighteenth century. Viccy Coltman contrasts the precarious and competitive culture of eighteenth-century collecting, which integrated sculpture into the domestic interior back home in Britain, with the study and publication of individual specimens byclassical archaeologists like Adolf Michaelis a century later. Her study is comprehensively illustrated with over 100 phot.
'The loving labours of a learned German': Adolf Michaelis and the historiography of classical sculpture in Britain.
'The spoils of Roman grandeur': correspondence collecting and the market in Rome.
The operations of sculpture: (Re) writing restoration.
Collecting and global politics: the export of marbles from Rome and their transport to Britain.
"The lecture on Venus's arse: Richard Cosway's Charles Townley with a group of connoisseurs, c.1771-5.
'Placed with propriety': the display and viewing of ancient sculpture.
'Casting a lustful eye': Charles Townley as collector and cataloguer.
Conclusion: Joseph Nollekens' The judgement of Paris.
This is a book about classical sculptures in the early modern period, centuries after the decline and fall of Rome, when they began to be excavated, restored, and collected by British visitors in Italy in the second half of the eighteenth century. Viccy Coltman contrasts the precarious and competitive culture of eighteenth-century collecting, which integrated sculpture into the domestic interior back home in Britain, with the study and publication of individual specimens byclassical archaeologists like Adolf Michaelis a century later. Her study is comprehensively illustrated with over 100 phot.
