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A richly illustrated book exploring the origins of the modern fascination for heritage, comparing preservation in France, Germany and England.
Originally published in 1919, this book forms the second of two volumes on the history of France between 1815 and 1913.
The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity—the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable—its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context—the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.
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 book'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 d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including S?n, Ch?t, Carrier-Belleuse and Rodin; and of diverse objects and materials, from S?es vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. 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.
This book unravels the formation of the modern concept of cultural heritage by charting its colonial, postcolonial-nationalist and global trajectories. By bringing to light many unresearched dimensions of the twelfth-century Cambodian temple of Angkor Wat during its modern history, the study argues for a conceptual, connected history that unfolded within the transcultural interstices of European and Asian projects. With more than 1,400 black-and-white and colour illustrations of historic photographs, architectural plans and samples of public media, the monograph discusses the multiple lives of Angkor Wat over a 150-year-long period from the 1860s to the 2010s. Volume 1 (Angkor in France) reconceptualises the Orientalist, French-colonial ‘discovery’ of the temple in the nineteenth century and brings to light the manifold strategies at play in its physical representations as plaster cast substitutes in museums and as hybrid pavilions in universal and colonial exhibitions in Marseille and Paris from 1867 to 1937. Volume 2 (Angkor in Cambodia) covers, for the first time in this depth, the various on-site restoration efforts inside the ‘Archaeological Park of Angkor’ from 1907 until 1970, and the temple’s gradual canonisation as a symbol of national identity during Cambodia’s troublesome decolonisation (1953–89), from independence to Khmer Rouge terror and Vietnamese occupation, and, finally, as a global icon of UNESCO World Heritage since 1992 until today. Congratulations to our author Michael Falser who received the prestigious 2021 ICAS Book Prize in the "Ground Breaking Subject Matter" category.