Debuting in 1997, The Sculpture Journal features articles by leading international scholars relating to European sculpture from the sixteenth century to the present.
Volume XII is devoted to the history of British sculpture collections in the eighteenth and nineteenth centuries, when so many of the world's great collections were formed. A number of the collectors discussed in this volume emerge as true eccentrics, rivaling in interest the objects they pursued with such enthusiasm. Viccy Coltman writes on Thomas Anson's sculpture collection at Shugborough, Helen Dorey discusses Sir John Soane, and Robert Wenley investigates the 4th Marquess of Hertford's "lost collection." Dean Walker reviews a recently published book on Jean-Antoine Houdon, the Enlightenment sculptor; and David Fraser Jenkins comments on the recent Henry Moore exhibition at the Dulwich Picture Gallery in London. Finally, the volume includes a tribute by the sculptor Raymond Mason to the Public Monuments and Sculpture Association's patron, Sir Eduardo Paolozzi, on the occasion of his eightieth birthday.
In Volume XI, Keith Shaw and Theresa Boccia Shaw analyze a reconstructive model for Donatello's Santo Altar; both Helen Geddes and John Turner contribute new material on the Renaissance, with Geddes examining the marble altarpiece by Jacopo della Quercia in Lucca, and Turner writing on two crucifixes attributed to Vaccio da Montelupo; Fiona Darling-Glinski revisits the Thornycroft family of sculptors, providing new research on Mary Thornycroft; Jonathan Black, who recently published a book on Eric Kennington, analyzes the artist's war memorials; and Barnaby Wright considers Barbara
Hepworth's status and reputation after her centenary year.
Also included are reviews of the books British Sculpture 1470- 2000: A Concise Catalogue of the Collections at the Victoria and Albert Museum and Henry Moore: Writings and Conversations (edited by Alan Wilkinson), as well as a review of the recent exhibition "Gothic: Art for England," held at the Victoria and Albert Museum, London.
Volume X includes two case studies. The first, contributed by Anne Poulet, Ulrike Mathies, and Christoph Frank, looks closely at Jean-Antoine Houdon's statue of Diana. The second is Bernard Black's examination of Jean-Baptiste Pigalle's abandoned project for the Enfant à la Cage. In another article, Moira Fulton explores the workshop practice of the little-known artist John Cheere, a sculptural entrepreneur from eighteenth-century London, while Miranda Mason contributes a detailed study of the workshop of Hamo Thornycroft. In his article on the British Museum's statue of Gudea, governor of Lagash in the third millenium B.C., Jon Wood underscores his fundamental concern with the complex, but little-considered, question of "influence."
Volume IX includes articles by Giovanni Freni, Charles Avery, Will Lammert, and John Picton.
Volume VIII is a special issue entitled "Writing Sculpture." It brings together a range of views about how the physical nature of sculpture is constructed in writing about it and how perceptions of a given work are formed by what is written.
Volume VII includes articles by Stacy Boldrick, Keith V. Shaw and Theresa M. Boccia Shaw, Gordon Balderstone, Alison Yarrington, David Getsy, Jason Edwards, Liisa Lindgren, Louise Boreham, Cathy Pütz, and Jon Wood, and reviews by Barnaby Wright, Martin Hammer and Christina Lodder, John Lord Manfred Leithe-Jasper, Ann Compton, and Matthew Reeve.
Volume VI includes articles by Thomas Martin, Charles Avery, Tobias Kämpf, Hans-Ulrich Kessler, Marietta Cambareri, Katherine Gibson, Stephen Brindle, Sarah Crellin, Christopher Eric Pearson, and Richard J. Williams.
Volume V features articles on objects in both the United States and Europe by authors Paul Williamson, Victoria Avery, Dora Thornton, Christian Theuerkauff, Guilhem Scherf, Peta Motture, Mignon Nixon, Niru Ratnam, and Cathy Pütz.
Volume IV features articles on European sculpture, from the medieval to the contemporary, now housed in American collections. The authors in this volume include Peter Barnet, Dean Walker, Frank Martin, Ian Wardropper, Betsy Rosasco, Peggy Fogelman, Peter Fusco, Mary Levkoff, Antonia Boström, and Anthony Radcliffe.
Volume III covers an equally wide geographic area, with articles on Henry Moore, Spaniard Gaspar Becerra, Thomas Brock and the Albert Memorial, Gormley's Angel, and more.
Volume II covers monuments such as Nost's equestrian figure, Bacon's memorial to Rodney in Jamaica, tombs in Spain and Italy, a wax figure by Degas, and small-scale pieces such as Daucher's relief of Jerome, Nollekens's terracottas, and medieval ivories.
The Sculpture Journal is published by the Public Monuments and Sculpture Association, London, and distributed in North America by the J. Paul Getty Museum.
Margaret Garlake is an art historian specializing in twentieth-century British Art.
The Sculpture Journal, Volume XIII (2005): $50.00
Volume XII (2005): $50.00
Volume XI (2004): $50.00
Volume X (2004): $50.00
Volume IX (September 2003): $50.00
Volume VIII (March 2003): $50.00
Volume VII (September 2002): $50.00
Volume VI (March 2002): $50.00
Volume V (2001): $50.00
Volume IV (2000): $50.00
Volume III (1999): $50.00
Volume II (1998): $50.00