Although porcelain has played a significant role in the oeuvres some of the most influential sculptors of the 18th and 19th century, including Bustelli, Falconet, Flaxman, Carrier-Belleuse and Rodin, it has been largely marginalised from histories of sculpture. Both in art history and in museological practice, porcelain objects tend be treated as a homogenous group, classed by period and manufacturer, rather than by type and designer, or as distinct artistic endeavours. While this is partly a consequence of the systems by which porcelain is produced, it has also resulted in the oversight of particular genres within these systems, notably porcelainís position as a sculptural material. This conference proposes to reconsider the role of porcelain as a sculptural material between 1700 and 1900. The session aims to explore the position of porcelain in sculptural aesthetics, by asking questions such as: what attracted sculptors to work with porcelain firms; how did sculptorís ceramic work relate to their academic careers; what role did porcelain play in commercial sculpture reproduction; were porcelain sculptures included in art criticism - and if not, how and where were they discussed? Papers are invited that explore these and related issues through case studies or broader theoretical discussions.
Please send proposals (500 words) preferably by email to the contacts below. Deadline for receipt of proposals is 12 May 2003.
Henry Moore Institute
74 The Headrow
Leeds LS1 3AH
tel: +44 (0)113 246 7467
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