The British School of Sculpture, c.1760-1832
The British School of Sculpture, c. 1760–1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.
List of Illustrations
Notes on Contributors
1 Jason Edwards, ‘Introduction: Sculpture Victorious, or, The British School, .c1760-1832?’
2 Sarah Burnage, ‘Introduction: The British School of Sculpture – A Case Study’.
3 Joan Coutu, ‘Sculpture and the Forming of National Tastes in the Middle of the Eighteenth Century’.
4 Matthew Craske, ‘Extracting the Meaning of a Pile of Pancakes: An Analysis of Nicholas Read’s Monument to Admiral Tyrrel (1766-1770)’.
5 Sarah Burnage, ‘“Delighting the Common People”: John Bacon’s Monuments to the Earl of Chatham (1778-1784)’.
6 Tomas Macsotay, ‘Artistic Labour and Cosmopolitan Sociability: British Sculptors in Accounts from Late Eighteenth-Century Visitors to Rome’.
7 Roberto Ferrari, ‘Before Rome: John Gibson and the British School of Art’.
8. Martin Myrone: ‘“The Chatterton of Sculpture”: Thomas Procter and the Limits of the British School’.
9 Eleanor Hughes, ‘Smoke and Marble: Thomas Banks’s Monument to Captain George Blagdon Westcott’.
10 Jason Edwards, ‘John Charles Felix Rossi’s Cornwallis Monument (1807-1811) and the Colonial Cosmopolitanism of the British School’.
11 M.G. Sullivan, ‘Cunningham, Chantrey, and the British School of Sculpture’.