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Between 1760 and 1800, British aristocrats became preoccupied with the acquisition of ancient Greek and Roman artifacts. From marble busts to intricately painted vases, these antiquities were amassed in vast collections held in country houses and libraries throughout Britain. In 'Fabricating the Antique', Viccy Coltman examines these objects and their owners, as well as dealers, restorers, designers, and manufacturers. She provides a close look at the classical revival that resulted in this obsession with collecting antiques. Looking at the theoretical foundations of neoclassicism, Coltman contends this reinvention of ancient material culture was more than a fabrication of style. Based in the strong emphasis on classical education during this time, neoclassicism, Coltman claims, could be more accurately described as a style of thought translated into material possessions. 'Fabricating the Antique' is a new take on both well-known collections of ancient art and newly cataloged artifacts. This book also covers how these objects& once removed from their original context& were received, preserved, and displayed. Art historians, classicists, and archaeologists alike will benefit from this important examination of British eighteenth-century history.

Art --- anno 1700-1799 --- England --- Neoclassicism (Art) --- Art, British --- Néoclassicisme (Art) --- Art britannique --- neoclassicisme --- klassieke oudheid --- Hamilton, William --- Townley, Charles --- 1760 - 1800 --- 18de eeuw --- Groot-Brittannië --- Néoclassicisme (Art) --- Art, Modern --- Classicism in art --- Revival movements (Art) --- klassieke oudheid (historisch tijdvak) --- neoclassicisme. --- klassieke oudheid (historisch tijdvak). --- Hamilton, William. --- Townley, Charles. --- 1760 - 1800. --- 18de eeuw. --- Groot-Brittannië.

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This is an illustrated study of the reception of classical sculptures in the early modern period. Viccy Coltman contrasts the culture of British 18th century collecting, which integrated sculpture into the domestic interior, with the focus upon individual specimens by archaeologists like Adolf Michaelis a century later.

Sculpture, Classical --- Collectors and collecting --- History.

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The first illustrated scholarly work devoted to the reception and reputation of Edinburgh's premier Enlightenment portrait painter.Sir Henry Raeburn (1756-1823) is especially well known in Scotland as the portrait painter of members of the Scottish Enlightenment. However, outside Scotland, the artist rarely makes more than a fleeting appearance in survey books about portraiture.Ten international scholars recover Raeburn from his artistic isolation by looking at his local and international reception and reputation, both in his lifetime and posthumously. It focuses as much on Edinburgh and Scotland as on metropolitan markets and cosmopolitan contexts. Previously unpublished archival material is brought to light for the first time, especially from the Innes of Stow papers and the archives of the dukes of Hamilton.Key Features 11 chapters each looking at different aspects of Raeburn's professional careerInternational scholars contributing to Raeburn studies for the first timeInterdisciplinary perspectives setting a new agenda for Raeburn studiesTraditional art analysis integrated with cultural, social, political and economic historyIncludes much unpublished archival material

Portrait painters --- Raeburn, Henry,-Sir,-1756-1823-Criticism and interpretation-Congresses. --- Raeburn, Henry, --- Criticism and interpretation

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Ancient Greek [culture or style] --- Art --- Art, Greek. --- Art appreciation --- Art grec --- History --- Appréciation --- Histoire --- Greece --- Grèce --- Antiquities --- Antiquités --- Appréciation --- Grèce --- Antiquités --- History. --- receptiegeschiedenis

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