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Exhibiting Antonio Canova: Display and the Transformation of Sculptural Theory argues that the display of Canova's sculptures in the late eighteenth and early nineteenth centuries acted as a catalyst for discourse across a broad range of subjects. By enshrining his marble figures alongside plaster casts of ancient works, bathing them in candlelight, staining and waxing their surfaces, and even setting them in motion on rotating bases, Canova engaged viewers intellectually, physically, and emotionally. These displays inspired discussions on topics as diverse as originality and artistic production, the association between the sculptural surface, flesh, and anatomy, the relationship between painting and sculpture, and the role of public museums. Beholders' discussions also shaped the legacy of important sculptural theories. They helped usher in their modern definitions and created the lenses through which we experience and interpret works of art, establishing modern attitudes not just towards sculpture, but towards cultural patrimony in general.

• Henri Désiré Gauquié (1858-1927) : vie et œuvre
• Généalogie
• Les années de formation à Valenciennes de 1872 à 1878 avec René Fache
• L'École des beaux-arts de Paris : 1878 à 1888 dans l'atelier de Jules Cavelier Le concours du prix de Rome
• Henri Désiré Gauquié : un homme discret
• L'atelier du 4 rue Férou et du "cul-de-sac de Férou"
• Une collaboration continue avec des architectes et surtout son ami l'architecte Henri Guillaume (Paris, 1868-Paris, 1929)
• Les Debiève, des protecteurs et mécènes de Gauquié, de père en fils : l'industriel et député du Nord Anatole Debiève et son fils Nestor Émile Zénobe Debiève
• D'une commande à l'autre, Gauquié se forge une réputation : la famille Le Grand et le palais Bénédictine à Fécamp ; Mgr Fuzet et la cathédrale de Rouen ; Camille Chabaneau et le Bournat
• Les commandes publiques de l'État et du Sénat Les petits marbres et les bronzes d'édition La notoriété
• Les signatures
• Henri Désiré Gauquié
• (Flers-lez-Lille, 1858-1927, Montfort-l'Amaury), repères biographiques
• Catalogue raisonné de l'ceuvre sculpté de Henri Désiré Gauquié
• Bibliographie
• Liste des œuvres par type
• Index des noms de personnes et de lieux
• Crédits photographiques.

"Dans ce catalogue, Catherine Limousin rassemble 159 œuvres d'Henri Gauquié (22 octobre 1858 - 19 août 1927), et les accompagne d'études préparatoires et de versions remaniées par le sculpteur lui-même ou rééditées après sa mort. De ce modeleur de talent né à Flers-lez-Lille, on connaît peu de dessins, mais il s'inspire avec bonheur de ceux qu'ont réalisés les architectes avec lesquels il travaille tout au long de sa carrière, comme Henri Guillaume (Paris, 1868 - Paris, 1929), par exemple. Les œuvres monumentales d'Henri Gauquié jalonnent l'ensemble du territoire français, depuis la région Bourgogne-Franche-Comté avec le Monument aux soldats du canton de Semur morts pour la Patrie jusqu'à Dax ou Périgueux en passant par la région Auvergne-Rhône-Alpes avec l'imposant Monument à Sadi Carnot à Lyon. La région Hauts-de-France accueille dix-neuf monuments de cet enfant du pays, tel "L'abreuvoir", Monument à la se division britannique à Chipilly, dans la Somme, ou encore le Monument au maréchal de Villars à Denain. Nous lui devons aussi le décor du Théâtre de Béthune et le Monument au sénateur André Déprez à Harnes dans le Pas-de-Calais. Par ailleurs, ses rondes de petits Amours, sur les candélabres historiés du pont Alexandre III à Paris, sont connues de tous les touristes qui visitent la capitale et de tous les amoureux qui, ignorant la valeur de ces bronze anciens, n'hésitent pas à y accrocher des cadenas."--Page 4 of cover.

"Ici, tout commence toujours par le dessin. C'est ici, sur le papier que les formes se trouvent, se cherchent, s'éloignent et s'imposent. C'est ici que, chaque jour, le rapport au monde se risque, le paysage s'affronte, l'espace se conquiert. Des formes viennent et repartent, des idées se mettent en place, de vraies sculptures se font et se défont. Ensuite, la terre et le plâtre, ensuite le volume et la forme, le fer et le béton, la présence physique de la matière."--Page 4 of cover.

本研究以田野调查为基础, 通过大量第一手的调查资料, 采用考古类型学方法对东魏-北齐石窟造像进行类 型分析, 在类型分析的基础上, 结合纪年材料(文献记载, 造像题记)对石窟造像进行了年代学研究.通过东 魏北齐不同时期不同地域石窟造像的比较研究, 采用文化因素分析法, 对它们各类特征的来源进行梳理和总结.在此基础 上, 讨论了东魏北齐石窟造像样式特征所反映的"西方 ""南方"以及"中原传统"因素, 以及传统历史研究中的"胡化"与"汉化"问题.利用 全面搜集的石窟, 造像的题材, 佛教刻经经目材料, 讨论东魏北齐的佛教信仰, 结合供养人的身份, 探讨不同身份等级供养人佛教信仰取向的不同, 以及背后反映的深层次动因. 本研究以田野调查为基础, 通过大量第一手的调查资料, 采用考古类型学方法对东魏-北齐石窟造像进行类 型分析, 在类型分析的基础上, 结合纪年材料(文献记载, 造像题记)对石窟造像进行了年代学研究.通过东 魏北齐不同时期不同地域石窟造像的比较研究, 采用文化因素分析法, 对它们各类特征的来源进行梳理和总结.在此基础 上, 讨论了东魏北齐石窟造像样式特征所反映的"西方 ""南方"以及"中原传统"因素, 以及传统历史研究中的"胡化"与"汉化"问题.利用 全面搜集的石窟, 造像的题材, 佛教刻经经目材料, 讨论东魏北齐的佛教信仰, 结合供养人的身份, 探讨不同身份等级供养人佛教信仰取向的不同, 以及背后反映的深层次动因.

• Foreword and acknowledgments
• William Edmonson : a monumental vision / James Claiborne and Nancy Ireson
• Divine revelations, resistance, and resilience / Leslie King Hammond
• William Edmonson's limestone miracles and MoMA's primitive need / Kelli Morgan
• Edmonson in the museum : a conversation / James Claiborne, Brendan Fernandes, and Christina Knight
• Epilogue : photography
• Selected bibliography
• Checklist of the exhibition.

"This richly illustrated volume reintroduces readers to American sculptor William Edmondson (1874-1951) more than 80 years after his historic solo exhibition at the Museum of Modern Art. Edmondson began carving at the onset of the Depression in Tennessee. Initially creating tombstones for his community, over time he expanded his practice to include biblical subjects, the natural world, and recognizable figures including nurses and preachers. This book features new essays that explore Edmondson's life in the South and his reception on the East Coast in the 1930s. Reading the artist through lenses of African American experience, the authors draw parallels between then and now, highlighting the complex relationship between Black cultural production and the American museum. Countering existing narratives that have viewed Edmondson as a passive actor in an unfolding drama--a self-taught sculptor "discovered" by White patrons and institutions--this book considers how the artist's identity and position within history influenced his life and work."-- Distributor's website.

Curtis Cuffie (1955-2002) was an artist from Harstville, South Carolina, who found local notoriety in the 1990s for the thrilling and surprising way he adorned the streets of New York's East Village. His on-the-spot sculptures were woven into fences, hung from walls and sprawled along the Bowery and Cooper Square. Making use of whatever he could find to fashion works that were imaginative and real, Cuffie took the street for all it could provide: materials, an audience, a rhythm and a sense of the strange unexpectedness of public life. He was unhoused for stretches of his life, and his sculptures were viewed near to his outdoor quarters. Cuffie's art was often removed by city sanitation, but new work would spring up soon after. Though little of his art survives today, a trove of photographs documenting it keeps him in the present. This publication, the first on Cuffie, seeks to honor the artist and rectify his omission by going backward to recover that which has been left behind. It places Cuffie's own photographs and those of his companion Katy Able alongside pictures that photographers Margaret Morton and Tom Warren took of Cuffie and his art on the streets. Exhibition: Gallery Bucholz, New York, USA (03.2023).

• 1. Introduction
• 2. Roman Bronzes around 1600
• 3. Adoration of the Host. Tabernacles of the Baroque
• 4. The Medal. Some Drawings for the Hamerani
• 5. Silver Tribute from a Prince to a Grand Duke. The 'Piatti di San Giovanni'
• 6. Giardini and Giardoni. Silversmiths and Founders of the Eighteenth Century
• 7. From Rome to Lisbon. The Patronage of John V
• App. A The Tabernacles of Jacopo del Duca
• App. I The Ciborium of Sta Maria Maggiore
• App. II The Ciborium of Sta Maria in Vallicella
• App. III The Tabernacle of the Cappella Aldobrandini in Bologna
• App. IV The Virgin and Child for Lisbon
• App. V The Virgin of the Immaculate Conception for Lisbon.

"Roman baroque sculpture is usually thought of in terms of large-scale statues in marble and bronze, tombs, or portrait busts. Smaller bronze statuettes are overlooked, and the extensive production of sculptural silver--much of which is now lost but can be studied from drawings--is omitted from the histories of art. In these lectures, Jennifer Montagu enriches our understanding of the sculpture of the period by investigating these works in metal: the bronzes that adorn the great tabernacles, which are a prominent feature of Roman churches the often gilded silver, both secular and ecclesiastical and elaborately embossed display dishes. She also looks at the production of medals, an essential aspect of metal sculpture that is usually confined to specialist literature. The book concentrates on selected pieces by such master sculptors as Bernini, and leading metal-workers such as Giovanni Giardini. Making extensive use of archival documents and drawings, Montagu examines the often tortuous relationship between the patrons and the artists and elucidates the relationship between those who provided the drawings or models and the craftsmen who executed the finished sculptures. In this way she provides insights into the procedures of the workshops, and at the same time opens our eyes to a new and fascinating area of sculpture"--Publisher description.