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Revival and Invention

Sculpture through its Material Histories

Sébastien Clerbois and Martina Droth

Materials may seem to be sculpture’s most obvious aspect. Traditionally seen as a means to an end, and frequently studied in terms of technical procedures, their intrinsic meaning often remains unquestioned. Yet materials comprise a field rich in meaning, bringing into play a wide range of issues crucial to our understanding of sculpture. This book places materials at the centre of our approach to sculpture, examining their symbolic and aesthetic language, their abstract and philosophical associations, and the ways in which they reveal the political, economic and social contexts of sculptural practice. Spanning a chronology from antiquity through to the end of the nineteenth century, the essays collected in this book uncover material properties as fundamental to artistic intentionality.

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List of Colour Plates vii

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List of Colour Plates The colour plates are to be found between pages 152 and 153. 1.1. Jill Dunkerton, Susan Foister, and Nicholas Penny, Duerer to Veronese: Six- teenth-Century Painting in the National Gallery, New Haven CT and London: Yale University Press, 1999, p. 290. © Yale University Press. 1.2. James Elkins, What Painting is, New York NY and London: Routledge, 1999, colour plate 14. © Routledge. 1.3. Georges Didi-Huberman, Fra Angelico: Dissemblance and Figuration, Chicago IL and London: Chicago University Press, 1995, plate 3. © Nicolò Orsi Battaglini. 2.1. Piombino Apollo, bronze, first century BC–first century AD. Paris, Musée du Louvre. © Réunion des Musées Nationaux, Paris. 2.2. Head of a boy from the Athenian Akropolis, bronze, c. 470 BC. Athens, National Archaeological Museum. © Athens, National Archaeological Museum. 2.3. Legs of a kouros from Olympia, bronze, first half of sixth century BC. Olympia Museum. © Gösta Hellner, DAI, Neg.D-DAI-ATH-1972/3546. All rights reserved. 2.4. Roman version of the Diskobolos by Myron, marble, Myron’s version c. 460– 450 BC. Rome, Palazzo Massimo. © Carol Mattusch. Courtesy of the Mini- stero per i Beni e le Attività Culturali – Soprintendenza Speciale per i Beni Archeologici di Roma. 2.5. Drunken satyr from the Villa dei Papiri, bronze, first century BC – first cen- tury AD. Naples, Archaeological Museum. © Carol Mattusch. Courtesy of the Soprintendenza speciale per i beni archeologici di Napoli e Pompei. 2.6. Ancient head from the Villa dei Papiri restored with eighteenth-century bust, bronze. Naples, Archaeological Museum. © Carol Mattusch. Courtesy of the Soprintendenza speciale...

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