This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1901 edition. Excerpt: ...achievement, it is easy to see that it is the form and action that interest the artist--the expression of the body, not ...Read MoreThis historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1901 edition. Excerpt: ...achievement, it is easy to see that it is the form and action that interest the artist--the expression of the body, not that of the face. This may be seen by examining his statuettes of male and female figures. They are intensely sculptural in a quattro centist feeling an 1, unlike what is not infrequently the characteristic of the smaller works of smaller men, they never suggest the " ornamental bronze." The daring pose of "Orpheus" expresses the feelings of the music-making beast-charmer better than any face could do. Adapted from the artist's picture with the same motif, this tripping, careless youth steps it amid the beasts he leads with his song, not unconsciously but deliberately. Audacious as it is in arrangement, it is a very perfect piece of modelling of its kind. Similarly, in the beautiful "Fata Morgana," modelled and cast in silver for Mr. Stuart M. Samuel, M.P., the unusually fine type of the girl who sat for it and the effect of her pose have interested the artist vastly more than the face and head. In such a case, it would appear, the sculptor comes forward and the painter recedes. The characteristic of Mr. Swan's work, then, is the fact that he does not force his anatomical knowledge upon the spectator. Indeed, he partially conceals it and, as has been suggested already, he passes from the movement of the animal to the movement of its surface. If this be true, he is herein a disciple of Ruskin, who protested against the over-elaborate study and display of anatomy, which is apt soon to degenerate into posturemaking, and the result of it gives us science rather than art. The artist who knows something of science must forget it when he begins his work, or, like the dead objects of his study, his...Read Less
New. 196 pages. Reprinted from 1901 edition. NO changes have been made to the original text. Each page is checked manually before printing. Illustrations, Index, if any, are included in b/w. Fold-outs, if any, are not part of the book. It is not a set, only a single book/volume. This paperback book is SEWN perfect bound, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of paperback binding. It can also be open wide. The pages will not fall out and will be around for a lot longer than normal paperbacks. This book is printed on demand on acid-free paper. (Original publisher, London, New York, Cassell)
New. pp. 196. Pages 196 It is the reproduction of the original edition published long back(1901). Hardcover with sewing binding with glossy laminated multi-Colour Dust Cover, Printed on high quality Paper, professionally processed without changing its contents. We found this book important for the readers who want to know about our old treasure so we brought it back to the shelves. Print on Demand.
Hardcover reprint of the original 1901 edition-beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo-6x9". No adjustments have been made to the original text, giving readers the full antiquarian experience. For quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: British Sculpture And Sculptors Of Today. Spielmann, M. H. (Marion Harry). Indiana: Repressed Publishing LLC, 2012. Original Publishing: British Sculpture And Sculptors Of Today. Spielmann, M. H. (Marion Harry). London, New York: Cassell, 1901. Subject: Sculpture, British.
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