Classical Sculpture and the Culture of Collecting in Britain since 1760

Hardcover | August 16, 2009

byViccy Coltman

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This is a book about classical sculptures in the early modern period, centuries after the decline and fall of Rome, when they began to be excavated, restored, and collected by British visitors in Italy in the second half of the eighteenth century. Viccy Coltman contrasts the precarious andcompetitive culture of eighteenth-century collecting, which integrated sculpture into the domestic interior back home in Britain, with the study and publication of individual specimens by classical archaeologists like Adolf Michaelis a century later. Her study is comprehensively illustrated withover 100 photographs.

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This is a book about classical sculptures in the early modern period, centuries after the decline and fall of Rome, when they began to be excavated, restored, and collected by British visitors in Italy in the second half of the eighteenth century. Viccy Coltman contrasts the precarious andcompetitive culture of eighteenth-century colle...

Viccy Coltman is Senior Lecturer in History of Art at the University of Edinburgh.
Format:HardcoverDimensions:360 pages, 9.21 × 6.14 × 0.01 inPublished:August 16, 2009Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:019955126X

ISBN - 13:9780199551262

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Table of Contents

Introduction: Lord Lansdowne's Wounded Amazon1. `The loving labours of a learned German': Adolf Michaelis and the Historiography of Classical Sculpture in Britain2. `The spoils of Roman grandeur': Correspondence Collecting and the Market in Rome3. The Operations of Sculpture: (Re)writing Restoration4. Collecting and Global Politics: The Export of Marbles from Rome and their Transport to Britain5. `The lecture on Venus's arse'; Richard Cosway's `Charles Townley with a group of connoisseurs', c.1771-56. `Placed with propriety': The Display and Viewing of Ancient Sculpture7. `Casting a lustful eye': Townley as Collector and CataloguerConclusion: Joseph Nollekens' `The Judgment of Paris'