Sculpture Gallery Research Articles

Exhibition Review: Spirit of a Place, Bury Art Museum & Sculpture Gallery, Bury, United Kingdom, 18 May 2021 - 14 May 2022

The following is an exhibiton review of Spirit of a Place, Bury Art Museum & Sculpture Gallery. Spirit of a Place takes its title from the concept of the same name. Spirit of place identifies the tangible (objects, architecture, lanscapes) and intangible (memories, odours, rituals, knowledge, and values) hallmarks of a place or space's identity. Spirit of place is conveyed by people; therefore, Bury Art Museum combines archival documents, museum objects and new commissions to present the story of Silver Street, a prominent road through Bury's cultural quarter.

Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978

The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. 
 Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation.
 In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city.
 The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.

Carlo Scarpa ed il racconto di Castelvecchio. Analisi narratologica della Galleria delle Sculture

A quarant’anni dalla morte, la figura di Carlo Scarpa appare ancora indissolubilmente legata a sfalsanti clichè critici ed interpretativi che impediscono un’analisi profonda della complessità della sua opera. Tra gli aspetti meno studiati e più fraintesi vi è quello della narratività ovvero il complesso delle strutture profonde che organizzano i suoi racconti architettonici. Tali macchine del progetto sfuggono alle strumentazioni tipiche della critica e possono essere comprese solo attraverso l’analisi narratologica. Il saggio si muove in questa direzione affrontando l’analisi della Galleria delle Sculture del Museo di Castelvecchio una delle sequenze narrative più intense del corpus architettonico scarpiano.

“Framing and Fashioning of Images”: The Pictorial Invention of the Art Lover in Daniel Mytens’s Portrait of Thomas Howard, Earl of Arundel (ca 1618)

Abstract The article examines Daniel Mytens’s portrait of Thomas Howard, Earl of Arundel, and the pendant portrait of his wife, Aletheia Howard (ca 1618), in relation to early modern rhetorical concepts in portrait painting and art theory. Particular focus is placed on the pictorial meaning of the depicted sculpture gallery in Lord Arundel’s portrait in its relation to the sitter. The author argues that the composition subtly transforms certain patterns of a long-standing pictorial code in portrait painting, which can be identified as a type of “picture within a picture.” Already established in the Italian portrait tradition, an integrated little picture or window view next to the sitter was a widespread formula in seventeenth-century Dutch and British portraiture, in order to praise a sitter’s moral and political virtues. Mytens reinterprets this portrait type, in this way inventing a pictorial mode of highlighting the particular virtues of the art lover: his portrait, through its adaptation of the picture-within-a-picture formula, praises the earl’s noble act of collecting antiquities while at the same time strongly emphasizing his intellectual strength.

The Last Indian Raid in Kansas: Context, Colonialism, and Philip P. Frickey's Contributions to American Indian Law

There are a lot of things that are not the matter with Kansas.1 For example, Lucas, Kansas, is the home of the Garden of Eden museum, a colored cement sculpture gallery constructed by Samuel P. Dinsmoor, a Civil War veteran and free thinker who explored his commitment to reasoned enlightenment through his elaborate and weirdly gothic art.2 Kansas also boasts the first Pizza Hut; the original building is now on exhibit at the Wichita State campus.3 And Kansas has a fierce history of abolitionism; some of the most violent pre-Civil War skirmishes over slavery erupted in Bloody Kansas, which also hosts the John Brown Museum.

In Mary’s Garden by Tina Kügler (review)

Reviewed by: In Mary’s Garden by Tina Kügler Jeannette Hulick Kügler, Tina In Mary’s Garden; written and illus. by Tina and Carson Kügler. Houghton Mifflin Harcourt, 2015 [32p] ISBN 978-0-544-27220-0 $16.99 Reviewed from galleys R 5-8 yrs Even as a child, Mary Nohl likes making things with her hands; as she grows older, her love of art and art-making evolve as she transforms the grounds of her Lake Michigan home into an informal outdoor sculpture gallery, filling it with creations made from cement mixed with beach sand and studded with a variety of found objects. Her dogs offer loyalty and moral support as Nohl constructs her “creatures” from things washed ashore, and “Mary always had room for one more stone, one more shell, and one more friend.” This is an appealing and kid-friendly introduction to Nohl’s art, and creative kids (and collectors of natural objects) will respond to her impulse to make things out of the stuff she had at hand. Though this presentation of her life and her art is pared down and simplified for its young audience, an author’s note does provide more information about Nohl, including the controversy her art caused both during her life (she was derided and her art vandalized) and afterwards (some lakeside neighbors deplored the increased tourist [End Page 500] traffic). More photos of her actual artwork (only two small ones are included in the end note) would have been appreciated, but the Küglers’ softly angular mixed media art (which includes traditional watercolor, digital painting, collage, and vintage papers) does a credible job of capturing the friendly and slightly abstracted sensibility of Mary’s folk art creations. This could be paired with Ashley Bryan’s Puppets (BCCB 10/14) for a closer look at making three-dimensional figures from beach detritus or Slaymaker’s Bottle Houses (BCCB 5/04) to expand the look at folk artists, or it could be used as a springboard to making smaller-scale creations out of found objects. Copyright © 2015 The Board of Trustees of the University of Illinois

Encountering Victorian sculpture: recollections of objects, people and publications

Rebecca Wade in conversation with Ben ReadRW: I would like you to talk about the exhibitions and publications that have advanced our understanding of Victorian sculpture, beginning with the work of the Fine Art Society and their 1968 exhibition British Sculpture 1850-1914, which you've often cited as an important turning point.BR: I think here I would want to pay tribute to Peyton Skipwith. Dealers always have their agenda but one or two, like Peyton, have been genuinely scholarly and interested. I think Lavinia and Charles Handley-Read were similar as collectors. Between them they had begun collecting the New Sculpture in particular and had a legendary collection. Alan Bowness knew about it and would ask them if they would take in select students who were interested in that field, so I went there with John Christian, the Victorian art scholar, who used to work for the Art Fund. We were two young scholars and our eyes popped out of our heads because here were things we had read about but rarely seen. In those days collections like the Tate that had the objects rarely showed them so here was the opportunity to see original works of the New Sculpture. Lavinia published a number of pioneering articles and Charles did some other articles on mid-Victorian sculpture, on the Albert Memorial, for instance and things like that for instance, as well as writing on Wyndham Lewis.1 Part of the collection, through Lavinia's brother, went to Bedford where it is still.2 Of course, they had architectural things as well including William Burges relics - Charles was an early Burges enthusiast. There was a commemorative exhibition at the Royal Academy of the Handley-Read collection before it was dispersed, so this was a formal recognition, but Peyton Skipwith getting it into the Fine Art Society was the crucial breakthrough.3 I went to the exhibition and was dazzled by it. It was such a good collection because Lavinia knew exactly what everything was and she wrote about it with a critical intelligence, which is still in a way unsurpassed.RW: Would you say that this encounter with the objects set in motion the ideas that you would eventually publish in your book Victorian Sculpture in 1982?4BR: I was already into Victorian sculpture then, which is why Alan sent me along. Unknown to most of the scholarly world, I'm really a paintings person and my PhD was originally going to be on the neoclassicists like Leighton and Watts, but I was also very keen on John Gibson, because I'd been to Liverpool. I think it was the Holman Hunt exhibition that was on there and the Tinted Venus got there later.5 It had come up for sale at Sotheby's Belgravia and I was already into Gibson by then and so I went to see it.6 There were only two of us there, the other person was an elderly military gentleman. We persuaded the guards to switch off the lights so that we could see it - because there was a top light of some sort - and we just sighed in amazement. But in a way a crucial figure was Timothy Stevens, who then worked at the Walker and I got to know him over the years. Through him, Liverpool has now got this amazing sculpture gallery full of Gibsons and other things. Being at Liverpool he decided that he should take an interest in things of local interest. But it was very funny, he knew that there were a lot of Gibsons in North Wales country houses and his remark more or less was: you have to watch out for the deaths of the grandchildren. Grandchildren will still retain an interest, but once they die what the great-grandfather bought will be of no interest at all. So he kept a very careful eye on that and got some wonderful things for, I imagine, next to nothing. I can't remember what the Tinted Venus went for, again it was next to nothing - and there it now is. There was a follow-on from that because when they installed the sculpture gallery, it was actually one of my Courtauld students, Martin Greenwood, who was engaged as a research assistant on it and helped write the introductory booklet, so for me there's always been an ongoing connection. …

A Girl's Journey into the Well of Forbidden Knowledge

The GLQ Gallery features Allyson Mitchell's 2010 installation for the Art Gallery of Ontario in Toronto, A Girl's Journey into the Well of Forbidden Knowledge. In a plus-sized version of a sculpture gallery, two large ladies, in luminescent gold and silver, face two walls of books, attached to each other and to a giant crochet brain overhead by a crochet rope that links their crotches to the brain. Mitchell recreated a version of the Lesbian Herstory Archives reading room in Brooklyn by covering the walls of the gallery with trompe l'oeil wallpaper made from drawings of the books on the shelves. In addition to photographs of the installation, the GLQ Gallery features examples of Mitchell's original drawings. In a brief commentary on the installation, Ann Cvetkovich discusses how Mitchell brings lesbian feminist history and culture to a larger public and creates an “archive of feelings” through the affective labor of redrawing the Lesbian Herstory Archives shelves. The Gallery also features Mitchell's Deep Lez I statement, a manifesto that calls for a return to lesbian feminist culture as a resource for contemporary queer cultures.

Bodega de Arte en Dilesi, Beocia. Grecia

<p>Entre olivos, adelfas y cipreses, en un terreno de 4.000 m2 y a pocos metros de su vivienda en Dilesi, Beocia, la antigua Delion de Grecia, se ubicó la construcción del nuevo taller del pintor y escultor Alexandros Liapis. Una parte del paisaje fue incorporada en la galería de esculturas en el espacio abierto, albergando las creaciones del artista.</p>

Yale Sculpture Building and Gallery ‐ Kieran Timberlake

Yale Sculpture Building and Gallery ‐ Kieran Timberlake

Lancashire: Liverpool and the south-west

This comprehensive guide to the buildings of South-West Lancashire treats each city, town, and village in a detailed gazetteer. The great port city of Liverpool dominates, with its cathedrals, mighty commercial buildings and warehouses, and Georgian inner city. Full accounts are also given of the suburbs and industrial towns beyond. But most of the area remains rural, and in this distinctive landscape are found such memorable buildings as Sefton church, Speke Hall, and the Georgian country houses of Knowsley, ancestral seat of the Earls of Derby, and Ince Blundell, with its extraordinary Neoclassical sculpture gallery. Numerous maps and plans, color photographs, indexes, and an illustrated glossary complete this volume.

Art and Literature of the Second Empire/Les Arts et la Litterature sous le Second Empire (review)

Reviewed by: Art and Literature of the Second Empire/Les Arts et la Littérature sous le Second Empire Sara Pappas Baguley, David, ed. Art and Literature of the Second Empire/Les Arts et la Littérature sous le Second Empire. Durham: University of Durham, 2003. ISBN0-907310-54-0 In the fields of literature and the plastic arts, classifying and canonizing the Second Empire has never been an easy task. On the side of painting and sculpture, the period is problematic, despite the fact that there are several paintings and Salon scandals now considered pivotal moments in the history of Western art: Courbet's Un Enterrement à Ornans (painted and exhibited between a revolution and a coup d'état: 1848-1851), Manet's Déjeuner sur l'herbe and Olympia (1863-65), the Salon des Refusés (1863), and events in and around the Exposition Universelle of 1867, including Manet's painting of the same name. Despite these instances we have since identified as aesthetically revolutionary, painting of the Second Empire is frequently characterized as "eclectic." It is during this period that the Salon will close its ranks, becoming more and more resistant to innovations in pictorial form, as those artists who do adhere to the rules governing academic art are labeled "juste milieu" – a politically-charged term associated with compromise and conformity. The domain of literature is no less problematic. Despite the audacious writings and subsequent trials of both Baudelaire and Flaubert, the period of the Second Empire remains "transitional." It is eclipsed by the literary and artistic movements that it borders in time: preceded by Romanticism and Realism, and followed by Symbolism, Naturalism, Decadence, and Impressionism. In his preface to Art and Literature of the Second Empire, David Baguley remarks that works from this period are usually placed into one of two categories: either "officially sponsored, conformist, institutionalized," or "subversive, marginalized, clandestine" (XI). This collection of ten articles represents an effort to revise this view of the Second Empire, often analyzing texts, images, and politicians that do not fit neatly into either category, and arguing that the interaction between state and culture actually "gave rise to works of undeniable originality and lasting value (xi). The edited volume is divided into three sections: Arts, Institutions, and Letters/Lettres. Part One, "Arts," is perhaps the strongest in the collection. In an article on landscape painting, Patricia Mainardi considers the period's notorious eclecticism as a positive attribute. By focusing on Corot instead of Courbet, Mainardi argues that landscape painting of the Second Empire has been underestimated because of our tendency to view the period as exclusively pre-Impressionist. Although she never states it directly, Mainardi seems to be asserting that landscape painting of the Second Empire, even by artists who would later become Impressionists, constitutes its own category and resembles that category more than Impressionism itself. In the second article of this section, Robert [End Page 161] Lethbridge looks at how political engagement can go along with l'art pour l'art. It has long been argued that Manet's politics are difficult to ascertain from his images. Lethbridge argues that allusion, overlap, multiple references, and especially the "blague" were in fact a response to the Second Empire's desire to prevent the slippage of meaning. In this way, Manet's art can be seen as an ironic response to the politics of the period and part of an assertive strategy. In his contribution, Richard Hobbs seeks to problematize the "juste milieu" label. "Juste milieu" began as a political reference to the bourgeois monarchy, taken from Louis-Philippe's 1831 declaration, "nous cherchons à nous tenir dans un juste milieu" (quoted in Hobbs, 42), but has since become an expression associated with artists who compromised their integrity and sacrificed innovation and originality to please the crowd and/or the Academy. Hobbs explores the application of this label to the art of Thomas Couture, an artist best known today for having been Manet's teacher. Hobbs justifies the contested placement of Couture's Les Romains de la Décadence in the main sculpture gallery of the Musée d'Orsay by arguing that "juste milieu" can be seen as an engagement...

'London the Ring, Covent Garden the Jewell of That Ring': New Light on Covent Garden

It has long been accepted that St Paul’s Church, Covent Garden, and the porticoed houses along the north and east sides of the Piazza, were built to the designs of Inigo Jones in the early years of the 1630s, although this has been based on little concrete evidence. There are no surviving drawings for the project, for example, and there is no mention of the architect in the surviving building accounts for the church or the houses. Jones does, however, mention Covent Garden in a note he made later in his copy of Barbaro’s Vitruvius, and attribution has been confirmed through contemporary allusions to Jones’s authorship, and John Webb’s biographical notes. Jones was the King’s Surveyor of Works, also, and the executive officer of the Commission on Buildings, initially formed in 1618, and as such appointed to implement Charles’s building proclamation of 1625. The licence granted to Francis Russell, fourth Earl of Bedford, in February 1630/31 to develop Covent Garden reflected accurately the mandate of the commission text, and so the King’s Surveyor, obviously, would have exercised control over such an extensive project. As well, Jones’s design of St Paul’s Church, its flanking gates and houses, and the arcaded buildings of the Piazza, have been aptly described as ‘a comprehensive essay in the Tuscan mood, all the way from the high sophistication of the [church] portico to the vernacular of the houses’, and as such can be seen as a continuation of his ‘Tuscan mode’ following on from the Park Gate at St James’s Palace in 1627, and the Sculpture Gallery in 1629–30.

Some Women Pioneers In Haematology

Some Women Pioneers In Haematology

Teaching the Stages of Group Development

ABSTRACT This article illustrates a psychodramatic exercise for teaching social work students and other group leaders the stages of group development. The classroom is transformed into a sculpture gallery and students arrange themselves in a series of sculptures depictingthe stages. The sculpting brings together theory and practice. It gives students a visualmetaphor of the stages and takes them through a condensed experience of the phases themselves. This approach can be used in social work practice classes or in specific group workcourses.

The Protection of British Heritage: Woburn Abbey and The Three Graces

SummaryThis article describes the removal of Canova's sculpture, The Three Graces, from Woburn Abbey and the British laws that determined its subsequent treatment and ownership. In this case, the group of laws intended to protect the integrity of Woburn Abbey's Sculpture Gallery was deemed to be less important than the goal of retaining the sculpture within the country. It is therefore necessary to examine the relationship between the object and the building and the effectiveness of the laws designed to preserve objects and buildings for the benefit of the public. This article examines the implications of the laws regulating the preservation of historic buildings and the export of works of art for definitions of cultural property and national patrimony.

SUBVERSION IN THE SCULPTURE GALLERY: An educational experiment at the Trustees' Academy

SUBVERSION IN THE SCULPTURE GALLERY: An educational experiment at the Trustees' Academy

An Unpublished Epigram in Oxford

In the Sculpture Gallery of the Ashmolean Museum, Oxford, is exhibited an inscribed tombstone, bearing the following description: “Tombstone of Demetrios from Smyrna. Late Hellenistic or early Imperial period. Smoke-discoloured marble. Presented by J. W. Burgon, 1858.” As this has remained, to the best of my knowledge, unpublished, I sought the permission of the Keeper of the Museum, Mr. E. Thurlow Leeds, to publish it: I am grateful to him for his ready acquiescence. While I was engaged in studying the inscription and a squeeze of it actually lay on my table, I received from Freiherr F. Hiller von Gaertringen a letter asking whether I could trace the inscription referred to in a slip, now in the possession of the Prussian Academy, bearing, in the handwriting of August Boeckh, a copy of the text together with the following note: “Auf einem Grabstein von Athen, im Besitz des Herrn Burgon. Über die Inschrift ein Basrelief. Eine sitzende männliche Figur, deren Oberteil abgebrochen ist, in dem Sessel eine kleine, wunderlich gestaltete männliche Figur. Vor den Sitzenden zwei weibliche Figuren. Die Inschrift: [here follows a copy of the text]. Forchhammer versichert diese letzte Inschrift genau gelesen zu haben. Von Forchhammer durch [K.O.] Müller in England copirt.” Upon learning that the stone is now in the Ashmolean Collection, Freiherr von Hiller, with characteristic generosity, waived in my favour his claim to publish the inscription. He has also kindly read this article in manuscript.