2016
DOI: 10.16995/ntn.776
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Reading Victorian Sculpture

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Cited by 5 publications
(2 citation statements)
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“…Such inscrutability is exemplified by Marina Warner (1993), who explores how strategies to materialise revolutionary values in the statuary along the Champs Elysees in Paris drew upon classical allusions that are largely unfamiliar in a contemporary era in which few receive a classical education. Yet Angela Dunstan (2016: 3) contends that for the Victorians themselves, many sculptures were ‘hauntingly present but rarely interrogated, monumental yet mundane, and, above all, disconcertingly difficult to read’. Despite this obsolescence, these monochrome and still likenesses of people who lived long ago continue to haunt the city.…”
Section: Stone Memorials: Plinths and Lithic Landscapesmentioning
confidence: 99%
“…Such inscrutability is exemplified by Marina Warner (1993), who explores how strategies to materialise revolutionary values in the statuary along the Champs Elysees in Paris drew upon classical allusions that are largely unfamiliar in a contemporary era in which few receive a classical education. Yet Angela Dunstan (2016: 3) contends that for the Victorians themselves, many sculptures were ‘hauntingly present but rarely interrogated, monumental yet mundane, and, above all, disconcertingly difficult to read’. Despite this obsolescence, these monochrome and still likenesses of people who lived long ago continue to haunt the city.…”
Section: Stone Memorials: Plinths and Lithic Landscapesmentioning
confidence: 99%
“…Sculpture was nonetheless to be widely deployed to assert that empire during its Victorian zenith. 31 This was part of a contemporary statuomania, facilitated by new techniques of manufacture and replication, 32 that served differing purposes across Europe and North America. For instance, the trauma of loss or of defeat provided a context for the thousands of Civil War monuments that appeared in American cities and villages, both North and South, by the 1890s.…”
mentioning
confidence: 99%