Sculpture through its Material Histories
Sébastien Clerbois - The Revival of Ivory Sculpture in Belgium (1890–1910): The Material in Question 231
Sébastien Clerbois The Revival of Ivory Sculpture in Belgium (1890–1910): The Material in Question In the context of a conference dedicated to the materials of sculpture, the fundamental question is, without doubt, how art historians can change their traditional outlook so as to make the material – within traditional history of art methodologies – the central issue of their study. This requires a sig- nificant shift in approach, and is often dif ficult to achieve. Can we really appreciate the enormous dif ference such a shift of emphasis would produce if, for example, rather than studying ‘the marble sculptures of Canova’, we were to study ‘the role of marble in the sculptures of Canova’? Studying issues specifically engendered by attention to materials can appear radical. Of course, Canova’s sculptures cannot simply be reduced to the marble, just as it would be inappropriate to reduce the material to purely stylistic, iconographic or sociological considerations detached from its context. Yet, as sculpture historians know well, the material is of primary importance in the study of any sculptural work. It informs our understanding of technique, of visuality (the same fineness of features cannot be obtained in basalt as in marble), and of aesthetic and symbolic meanings (does not the black carboniferous limestone of Algardi’s Sleep evoke the night?), as much as sociological context (the local availability of raw materials, the conventions for their use, and so on). There is, therefore, not only a legitimacy, but also a need, to return to what may...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.