商品簡介
Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The booka€?s central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet da€?art. Detailed readings are offered of sculptors who operated within and outside the Salon, including SAcvin, ChAcret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from SA‥vres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jonesa€?s study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.
作者簡介
Claire Jonesa€?s research centres on nineteenth-century French and British sculpture and the decorative arts. Formerly Curator of Furniture at the Bowes Museum, and Postdoctoral Research Fellow, University of York, Claire is currently writing a new monograph on Victorian sculpture.
