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Photographs of sculpture: Greek slave’s ‘complex polyphony’, 1847 - 1877

机译:雕塑照片:希腊奴隶的“复音”,1847年-1877年

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摘要

This article explores some of the representations, iterations, and appearances of Hiram Powers’s Greek Slave in London in the decades after its first exhibition in 1845, years in which a variety of new ‘engines of the fine arts’ were fuelling a widening market for art objects of all kinds, and popular culture could turn statues into celebrities appearing everywhere — exhibitions, photographers’ studios, newspapers, tableau-vivant shows, even confectionery shops. The article’s focus is on how sculpture was used in the reception and understanding of photography as a new medium of reproduction, and how the materiality of specific photographic ‘objects’ — daguerreotypes, paper prints, and stereographs — interacted with that of sculpture to affect the viewer, at a time when sculptural objects themselves blurred the boundaries between original and reproduction. The article ends with an analysis of stereoscopic cards of Greek Slave, as the first photographic reproductions that could really compete with wood engravings and statuettes in the dissemination and circulation of statues, arguing for their pleasurable interactivity as key to their success.
机译:本文探讨了希拉姆·鲍尔斯(Hiram Powers)在1845年首次展览之后的几十年里在伦敦的希腊奴隶的一些表述,迭代和外观,多年来,各种各样的新“美术引擎”为不断扩大的艺术市场提供了动力。各种各样的物品以及流行文化都可以将雕像变成名人,这些名人到处可见-展览,摄影师工作室,报纸,精美的表演,甚至糖果店。本文的重点是如何将雕塑用于接受和理解摄影作为一种新的复制媒介,以及特定摄影“对象”(浮雕版,纸版印刷品和立体图)的实质性与雕塑的相互作用如何影响雕塑。观看者,在雕塑对象本身模糊了原始和复制之间的界限的时候。文章最后对希腊奴隶的立体卡片进行了分析,这是第一批真正能够与木刻和小雕像在雕像的传播和流通中竞争的摄影复制品,并认为其令人愉悦的互动性是其成功的关键。

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    Di Bello Patrizia;

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