The Armstrong Collection, National Trust, Cragside, Rothbury, Northumberland. The , which recently acquired a full-size of Greek Slave from the Corcoran collection, says it will put the marble sculpture on view by spring of 2016. Photograph by Nick Mead, 2014. Petra Chu and her colleagues at the journal have been pioneers in developing digital publishing in the history of art, and recently, thanks to generous support from the Andrew W. Bronze patinated electrotype with silver and gold plating.
Bronze patinated electrotype with silver and gold plating. The Greek Slave also embodies a culture shared by Britain and America in its very subject. In these cases, whiteness was not an adequate basis for the assertion of Anglo-American unity. Powers cast six marble Greek Slave sculptures, which he sold to prominent patrons. Yale University Art Gallery, New Haven. Prior to our exhibition, the two works had never been brought physically together; indeed, The American Slave had never before been lent to a museum either in Britain or the United States.
The Greek Slave tends to be regarded as a kind of catalyst that sparked an enormous response to the pressing political issues of the antebellum and Civil War periods. Courtesy of the National Trust; Hiram Powers, The Greek Slave, 1847. Her essay also shows that digital presentation increases not only the number of images available, but also the ways in which they can be viewed and compared, and how the proliferation and circulation of images can be so well described by this format. New Contexts for The Greek Slave This project has its origin in a major exhibition, Sculpture Victorious: Art in an Age of Invention, 1837—1901, which we curated with our colleague Jason Edwards, and which was accompanied by a substantial publication. At the Art Gallery, the statue stood on the elaborate pedestal Powers made for it fig. Photograph by Nick Mead, 2014.
It was not simply a case of collecting essays, but of working with authors and the journal team to develop a project that would cohere conceptually and intellectually on the digital platform. She is currently working on an exhibition of modern and contemporary ceramics, and developing a further project examining the relationship between Henry Moore and Bill Brandt. In Florence, Powers was overwhelmed by the demand for more full-size versions and busts. Unlike painting which is basically two dimensional, sculptures fills space in three dimensions including depth, whereas painting only tries to suggest the presence of depth in pictures through shadows, distance and colors. His parents wanted him to still have an education so two years later; he was enrolled in the California School for the Deaf which was located in Berkley, California. Photograph by Nick Mead, 2014. It represents a being superior to suffering, and raised above degradation, by inward purity and force of character.
Left to right: Hiram Powers, The Greek Slave, 1847. But like a catalyst, the statue has become less important for itself than for what it activated. Second, it brings into focus the importance of The Greek Slave as sculpture. Courtesy of the Newark Museum. More than any other format, the open-access digital journal gives us the opportunity to reach an ever-wider readership. The benefits are clearly demonstrated by articles in this issue. This is of paramount importance given not only the many versions of The Greek Slave whether in full-size marble, ceramic reduction, or two-dimensional media , but also the wide range of visual materials we needed to include in order to develop scholarship on the statues and their many worlds, and to open up new avenues of inquiry.
The sculpture expresses sentiment which awakens moral emotion. He holds a master's in art history from George Washington University. Like The Greek Slave, these statues had made their name in London, when versions of both were shown at the 1862 International Exhibition. The Greek Slave is an exemplar of the ideal marble sculpture that was produced in great quantities throughout the nineteenth century and indeed earlier ; misconceptions relating to it are therefore multiplied across a massive body of works. As with visual images, the digital platform allows a wider range of archival and documentary resources to be shown. As with the visual images, we have been able to show many of these clippings, which offer the reader both a sense of their sheer number and an understanding of the ways in which Kellogg made his scrapbook.
The lecture was followed by a question-and-answer session, during which Nemerov addressed the Turkish and Greek elements of the sculpture and whether Powers succeeded in communicating his anti-slavery convictions through his sculpture. In political and economic terms, this division is most obviously exemplified by slavery. This project has been a collaborative effort. Photograph by Martina Droth, 2013. So Powers is, in a lot of ways, a cultural ambassador. History of art is a curiously mute discipline, even as it routinely implies such things as the chatter of audiences, the roar of modernity, or the speech and song of religious ritual.
Her face shows fear and yet, an acceptance of her fate. She did it, after all, at a building that was once the U. The project could not have happened without the generosity of our funders, the Terra Foundation for American Art and the Yale Center for British Art. Placing the statues side by side also made clear that the debate about and interpretation of The Greek Slave in the nineteenth century was not only conducted in texts but also through sculpture itself. Finally, we also wanted a platform that would make this research more accessible than a print journal or a probably rather expensive book. The woman represented in the sculpture is a Christian, facing a terrible fate at the hands of her Moslem captors. Plaster with metal pins and metal shackles.