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Challenging perceptions of sculpture and the autonomous artist, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre in particular, has obscured our understanding of French nineteenth-century sculpture. 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. By contesting the false separation of art from industry, Claire Jones’s study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.
In the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.