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Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.
Traces the history of sculpture from 1776 to 1905 and examines the impact of social changes on the art of sculpture.
The Oxford Handbook of the European Bronze Age is a wide-ranging survey of a crucial period in prehistory during which many social, economic, and technological changes took place. Written by expert specialists in the field, the book provides coverage both of the themes that characterize the period, and of the specific developments that took place in the various countries of Europe. After an introduction and a discussion of chronology, successive chapters deal with settlement studies, burial analysis, hoards and hoarding, monumentality, rock art, cosmology, gender, and trade, as well as a series of articles on specific technologies and crafts (such as transport, metals, glass, salt, textiles, and weighing). The second half of the book covers each country in turn. From Ireland to Russia, Scandinavia to Sicily, every area is considered, and up to date information on important recent finds is discussed in detail. The book is the first to consider the whole of the European Bronze Age in both geographical and thematic terms, and will be the standard book on the subject for the foreseeable future.
After more than a century of research, an enormous body of scientific literature in the field of El Argar studies has been generated, comprising some 700 bibliographic items. No fully-updated synthesis of the literature is available at the moment; recent works deal only with specific characteristics of Argaric societies or some of the regions where their influence spread. The Archaeology of Bronze Age Iberia offers a much-needed, comprehensive overview of Argaric Bronze Age societies, based on state-of-the-art research. In addition to expounding on recent insights in such areas as Argaric origin and expansion, social practices, and socio-politics, the book offers reflections on current issues in the field, from questions concerning the genealogy of discourses on the subject, to matters related to professional practices. The book discusses the values and interests guiding the evolution of El Argar studies, while critically reexamining its history. Scholars and researchers in the fields of Prehistory and Archaeology will find this volume highly useful.
A dazzling work of intellectual history by a world-renowned scholar, spanning the years from Peter the Great to the fall of the Soviet Union, this book gives us a clear and sweeping view of Russia not as an eternal barbarian menace but as an outermost, if laggard, member in the continuum of European nations.
The Later Prehistory of North-West Europe provides a unique, up-to-date, and easily accessible synthesis of the later prehistoric archaeology of north-west Europe, transcending political and language barriers that can hinder understanding. By surveying changes in social forms, landscape organization, monument types, and ritual practices over six millennia, the volume reassesses the prehistory of north-west Europe from the late Mesolithic to the end of the pre-Roman Iron Age. It explores how far common patterns of social development are apparent across north-west Europe, and whether there were periods when local differences were emphasized instead. In relation to this, it also examines changes through time in the main axes of contact between the various regions of continental Europe, Britain, and Ireland. Key to the volume's broad scope is its focus on the vast mass of new evidence provided by recent development-led excavations. The authors collate data that has been gathered on thousands of sites across Britain, Ireland, northern France, the Low Countries, western Germany, and Denmark, using sources including unpublished 'grey literature' reports. The results challenge many aspects of previous narratives of later prehistory, allowing the volume to present a distinctively fresh perspective.
This collection of papers by an international chort of contributors explores the nature of the maritime connections that appear to have existed in the Transmanche/English Channel Zone during later prehistory. Organised into three themes, ‘Movement and Identity in the Transmanche Zone’; ‘Travel and exchange’; ‘Identity and Landscape’, the papers seek to articulate notions of frontier, mobility and identity from the end of the 3rd to the beginning of the 1st millennium BC, a time when the archaeological evidence suggests that the sea facilitated connections between peoples on both sides of the Channel rather than acting as a barrier as it is so often perceived today. Recent decades have since a massive increase in large-scale excavation programmes on either side of the Channel in advance of major infra-structure and urban development, resulting in the acqusition of huge, complex new datasets enabling new insights into later prehistoric life in this crucially important region. Papers consider the role of several key archaeologists in transforming our appreciation of the connectivity of the sea in prehistory; consider the extent to which the Channel zone developed into a closely unified cultural zone during later Bronze Age in terms of communities that serviced the movement of artefacts across the Channel with both sides sharing widely in the same artefacts and social practices; examine funerary practices and settlement evidence and consider the relationship between communities in social, cultural and ideological terms; and consider mechanisms for the transmission of ideas and how they may be reflected in the archaeological record. Brings together leading scholars from the UK and northern Europe in a thought-provoking and revealing new examination of the relationship between communities in the ‘Transmanche Zone’ in the Bronze and Iron Ages. The premise is that the English Channel was a conduit for connectivity and exchange of ideas, artefacts and social practices and rather than a barrier or frontier that had to be overcome before such connections could be fostered.
Chinese Popular Prints ventures into the world of Chinese blockprint illustration that had its assured niche in the rich history of Chinese popular culture from the 17th to the early 20th centuries. These prints were not considered high art in China, but were produced for the urban and rural populations. The book deals with all aspects of the Chinese popular print. In the first two chapters its invention, origins, powerful traditions and its history are described. Classical art and the Ming illustrated book were important impetuses. Three major centres of north and central China emerged. Finally the popular print took on something of the roles of the modern cinema or television. In the following four chapters the main themes are: the printmakers and printshops; society, symbolism and visual pun; categories of popular prints and their display; technical terms. A description of the workshops and their techniques, figure drawing and colouring, gives a good insight in the technical side of the print. A varied popular culture and a certain realism are strands in it, as are spirit protection of the house, recalls of the past, hopes for the future, the hold of the theatre, etc. Two elaborate appendices provide much detailed information about persons, symbols, as well as about some images in the lore of the print. A special section of 28 illustrations (8 full colour) demonstrates the potentialities of the Chinese blockprint illustration.