Greece and Rome at the Crystal Palace
Author | : Kate Nichols |
Publisher | : |
Total Pages | : |
Release | : 2015 |
Genre | : |
ISBN | : 9780191795770 |
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Author | : Kate Nichols |
Publisher | : |
Total Pages | : |
Release | : 2015 |
Genre | : |
ISBN | : 9780191795770 |
Author | : Kate Nichols |
Publisher | : OUP Oxford |
Total Pages | : 321 |
Release | : 2015-03-26 |
Genre | : Art |
ISBN | : 0191016918 |
The marble halls of the British Museum might seem the natural habitat for classical sculpture, but in the nineteenth century its sombre displays were far from being the only place that people encountered antiquities. From 1854, a rival collection of classical sculpture, comprising plaster casts from major European museums and scaled down architectural features, was on show in the South London suburb of Sydenham, in the Crystal Palace which had housed the Great Exhibition of 1851. By the late 1850s, two million visitors were passing through the glass doors of the Sydenham Crystal Palace each year, more than twice as many as recorded at the British Museum. Many more people, and from a greater variety of social strata, saw the painted cast of the Parthenon frieze in Sydenham than the original in Bloomsbury. Utilizing an extensive variety of archival material, including diaries, scrapbooks and photographs, Greece and Rome at the Crystal Palace evokes visitor experiences at Sydenham, and examines the discussion that arose around the presentation of classical plaster casts to a mass audience. It uncovers the social, political, and aesthetic role of ancient Greek and Roman sculpture in modern Britain, assessing how classical art figured in debates over design reform, taste, beauty and morality, class and gender, and race and imperialism.
Author | : George Scharf |
Publisher | : |
Total Pages | : 134 |
Release | : 1854 |
Genre | : Architecture, Greek |
ISBN | : |
Author | : Kate Nichols |
Publisher | : |
Total Pages | : 321 |
Release | : 2015 |
Genre | : Art |
ISBN | : 0199596468 |
The marble halls of the British Museum might seem the natural habitat for classical sculpture, but in the nineteenth century its sombre displays were far from being the only place that people encountered antiquities. From 1854, a rival collection of classical sculpture, comprising plaster casts from major European museums and scaled down architectural features, was on show in the South London suburb of Sydenham, in the Crystal Palace which had housed the Great Exhibition of 1851. By the late 1850s, two million visitors were passing through the glass doors of the Sydenham Crystal Palace each year, more than twice as many as recorded at the British Museum. Many more people, and from a greater variety of social strata, saw the painted cast of the Parthenon frieze in Sydenham than the original in Bloomsbury. Utilizing an extensive variety of archival material, including diaries, scrapbooks and photographs, Greece and Rome at the Crystal Palace evokes visitor experiences at Sydenham, and examines the discussion that arose around the presentation of classical plaster casts to a mass audience. It uncovers the social, political, and aesthetic role of ancient Greek and Roman sculpture in modern Britain, assessing how classical art figured in debates over design reform, taste, beauty and morality, class and gender, and race and imperialism.
Author | : Crystal Palace Company (Sydenham, London, England) |
Publisher | : |
Total Pages | : 64 |
Release | : 1864 |
Genre | : |
ISBN | : |
Author | : Jeffrey A. Auerbach |
Publisher | : Routledge |
Total Pages | : 238 |
Release | : 2016-04-15 |
Genre | : History |
ISBN | : 1317172272 |
Britain, the Empire, and the World at the Great Exhibition is the first book to situate the Crystal Palace Exhibition of 1851 in a truly global context. Addressing national, imperial, and international themes, this collection of essays considers the significance of the Exhibition both for its British hosts and their relationships to the wider world, and for participants from around the globe. How did the Exhibition connect London, England, important British colonies, and significant participating nation-states including Russia, Greece, Germany and the Ottoman Empire? How might we think about the exhibits, visitors and organizers in light of what the Exhibition suggested about Britain’s place in the global community? Contributors from various academic disciplines answer these and other questions by focusing on the many exhibits, publications, visitors and organizers in Britain and elsewhere. The essays expand our understanding of the meanings, roles and legacies of the Great Exhibition for British society and the wider world, as well as the ways that this pivotal event shaped Britain’s and other participating nations’ conceptions of and locations within the wider nineteenth-century world.
Author | : Sir Matthew Digby Wyatt |
Publisher | : |
Total Pages | : 140 |
Release | : 1854 |
Genre | : Architecture, Byzantine |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 42 |
Release | : 1871 |
Genre | : |
ISBN | : |
Author | : Katharine T. von Stackelberg |
Publisher | : Oxford University Press |
Total Pages | : 384 |
Release | : 2017-06-01 |
Genre | : Literary Collections |
ISBN | : 0190664916 |
In the last twenty years, reception studies have significantly enhanced our understanding of the ways in which Classics has shaped modern Western culture, but very little attention has been directed toward the reception of classical architecture. Housing the New Romans: Architectual Reception and Classical Style in the Modern World addresses this gap by investigating ways in which appropriation and allusion facilitated the reception of Classical Greece and Rome through the requisition and redeployment of classicizing tropes to create neo-Antique sites of "dwelling" in the 19th and early 20th centuries. The volume, across nine essays, will cover both European and American iterations of place making, including Sir John Soanes' house in London, the Hôtel de Beauharnais in Paris, and the Getty Villa in California. By focusing on structures and places that are oriented towards private life-houses, hotels, clubs, tombs, and gardens-the volume directs the critical gaze towards diverse and complex sites of curatorial self-fashioning. The goal of the volume is to provide a multiplicity of interpretative frameworks (e.g. object-agency enchantment, hyperreality, memory-infrastructure) that may be applied to the study of architectural reception. This critical approach makes Housing the New Romans the first work of its kind in the emerging field of architectural and landscape reception studies and in the hitherto textually dominated field of classical reception.
Author | : Sadiah Qureshi |
Publisher | : University of Chicago Press |
Total Pages | : 392 |
Release | : 2011-09-09 |
Genre | : History |
ISBN | : 0226700984 |
In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire. Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century. Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.