Reading the Royal Monument in Eighteenth-Century Europe is the first in-depth study of the major role played by royal monuments in the public space of expanding cities across eighteenth-century Europe. Using the royal public statues as the basis for its examination of modern European cities, the book considers the development of urban landscapes from the creation of capital cities to the last embers of the Ancien Régime and at how the royal politics of the arts affected the cityscapes of the time. The focus of the book thereby intersects across a spectrum of disciplines, including the social and architectural history of cities, the politics of urban planning, the history of monumental sculpture, and the material culture of the eighteenth century.
Contents: Preface, Charlotte Chastel-Rousseau; Introduction, Charlotte Chastel-Rousseau; The king and others: multiple figures in French royal monuments of the modern era, Etienne Jollet; Statues of Louis XV: illustrating the monarch's character in public squares whilst renewing urban art, Daniel Rabreau; 'Levez-vous, citoyens!' Military reforms and the fate of the pedestal slaves in 18th-century France, Godehard Janzing; 6 June, the king's birthday present: an insight into the history of royal monuments in Portugal at the end of the ancien régime, Miguel Figueira de Faria; The monument to Peter the Great by Falconet: a place royale by the Neva?, Basile Baudez; Two royal monuments in Stockholm, Johan Cederlund; King of the new republic: Houdon's equestrian monument to George Washington, David Bindman; Independence in the imperial realm: political iconography and urbanism in 18th-century Palermo, Alexander GrÃ¶nert; Originals or replicas? Royal equestrian monuments in 18th-century Great Britain and Ireland, Charlotte Chastel-Rousseau; Royal monuments and civic ritual in 18th-century Dublin, Philip McEvansoneya; Bibliography; Index.
We have become familiar with the notion that sculpture has moved into the 'expanded field', but this field has remained remarkably faithful to defining sculpture on its own terms. Sculpture can be distinct, but it is rarely autonomous. For too long studied apart, within a monographic or survey format, sculpture demands to be reintegrated with the other histories of which it is a part. In the interests of representing recent moves in this direction, this series provides a forum for the publication and stimulation of new research examining sculpture's relationship with the world around it, with other disciplines and with other material contexts.
The Henry Moore Institute, a centre for the study of sculpture, has developed this series. A part of the Henry Moore Foundation, the Institute is an international research hub located in the vibrant city of Leeds where Henry Moore began his training as a sculptor.