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Thomas Crawford (1813-1857) was the first American sculptor to study in Italy for an extended period of time. There, along with other artists-Greenough, Story, and Powers-he was part of a groupt hat made prolific contributions to American neoclassical art. Heis best known as the sculptor of much of the statuary and bas-reliefs of our nation's Capitol: the pediment figures over the Senate and of the House of Representatives, and the bronze Freedom atop the Capitol's dome. In writing this biography, Robert Gale was given exclusive access to all of Crawford's personal papers by the sculptor's granddaughter. An appendix lists extant works of Crawford and where they are found, and several plates illustrate his sculpture.

Sculpture, American

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Sculpture --- Painting

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Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of “colossality” and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than “life-size.” Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of “small sculpture”, often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of “presence”). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.

Small sculpture, Classical. --- Small sculpture, Roman --- Small sculpture --- Sculpture, Roman --- Sculpture, Greek --- Sculpture, Classical. --- Petite sculpture antique. --- Petite sculpture romaine --- Petite sculpture --- Sculpture romaine --- Sculpture grecque --- Sculpture antique --- Small sculpture, Classical

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Fidèles à l'esprit des Rencontres, les vingt-cinq articles réunis dans ce volume contribuent à la connaissance de la sculpture entre la basse époque hellénistique et l'époque impériale dans un horizon géographique très large - de l'Asie Mineure à l'Espagne et de l'Afrique du Nord à la Gaule. Seize contributions explorent différents aspects de la statuaire honorifique, genre étroitement lié au fonctionnement politique de l'Empire et des communautés qui le composent. Sont tour à tour analysés les fonctions politiques et sociales de ces portraits, les logiques spatiales qui président à leur installation dans l'espace public et le fonctionnement des ateliers chargés de leur création. Les approches contextuelles éclairent des pans méconnus de la pratique honorifique, tandis que quelques études synthétiques livrent des conclusions nouvelles sur sa portée historique. Dans la seconde partie de l'ouvrage, neuf contributions font connaître des sculptures récemment découvertes ou proposent une interprétation nouvelle d'oeuvres déjà connues. Le lecteur y trouvera des études sur des stèles funéraires d'Afrique du Nord, sur un masque appartenant à un monument funéraire du Sud de la Gaule, sur des statues divines idéales et des reliefs architecturaux du Nord de la Gaule. L'analyse historiographique d'un sarcophage paléochrétien permet une ouverture vers la réception médiévale de la sculpture antique. Enfin, dans le souci de répandre toujours plus la connaissance sur la sculpture est présentée la plateforme en ligne « SculptuRo », nouvel outil numérique de collecte et de diffusion des informations sur la sculpture romaine.

Sculpture romaine --- Portraits (sculpture) romains --- Antiquités romaines --- Sculpture, Roman --- Portrait sculpture, Roman --- Sculpture romaine. --- Portraits (sculpture) romains. --- Antiquités romaines.

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Metal sculpture --- Sculpture, French --- Barelier, Romain