Abstract

This article reviews the exhibition ‘Sculpture Victorious’, which ran at Tate Britain from 25 February to 25 May 2015. It describes the exhibition, considers the curators’ approach in the wider context of nineteenth-century studies, and assesses its implications for the field.

Highlights

  • At the entrance to the exhibition ‘Sculpture Victorious’, visitors are met in the foyer by John Bell’s Eagle Slayer (1851), a beautiful, barely clad youth shooting an invisible arrow into the sky to avenge the death of the lamb who lies at his feet

  • It is not that some critics object to the inclusion of ‘secondrate’ Victorian sculpture, but that some do not recognize that ‘first-rate’ Victorian sculpture exists at all

  • While critics of Victorian literature are no longer an embattled vanguard, and the once unfashionable ‘loose baggy monsters’ of nineteenth-century fiction are firmly back in vogue,[5] it seems that curators and historians of Victorian sculpture are still struggling against a hostile critical environment

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Summary

Introduction

At the entrance to the exhibition ‘Sculpture Victorious’, visitors are met in the foyer by John Bell’s Eagle Slayer (1851), a beautiful, barely clad youth shooting an invisible arrow into the sky to avenge the death of the lamb who lies at his feet.

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